CIHM 
Microfiche 
Series 
(IMonographs) 


ICIMH 

Collection  de 
microfiches 
(monographles) 


Canadian  Inatituta  for  Hiatorical  Microraproductions  /  Institut  Canadian  da  microraproductiona  hittoriquaa 


Technical  and  Bibliographic  Notes  /  Notes  techniques  et  bibliographiques 


The  Institute  has  attempted  to  obtain  the  t>est  original 
copy  avaHabie  (or  filming.  Features  of  this  copy  which 
may  be  bibliographically  unique,  which  may  alter  any  of 
the  Images  in  the  reproduction,  or  which  may 
significantly  change  the  usual  method  of  filming  are 
checlted  below. 


n 

D 
D 


n 
n 


n 


D 


Coloured  covers  / 
Couverture  de  couleur 

Covers  damaged  / 
Couverture  endommag^ 

Covers  restored  and/or  laminated  / 
Couverture  restaur^  et/ou  peliicul^ 

Cover  title  missing  /  Le  titre  de  couverture  manque 

Coloured  maps  /  Cartes  gdographiques  en  couleur 

Coloured  ink  (i.e.  other  than  blue  or  black)  / 
Encre  de  couleur  (i.e.  autre  que  bleue  ou  noire) 

Cotoured  plates  and/or  illustrattons  / 
Planches  et/ou  illustrations  en  couleur 

Bound  with  other  material  / 
Re\\6  avec  d'autres  documents 

Only  editk>n  available  / 
Seule  MAion  disponible 

Tight  binding  may  ca.  ise  shadows  or  distortion  along 
interior  margin  /  La  reliure  serr6e  peut  causer  de 
I'ombre  ou  de  la  distorsion  le  long  de  la  marge 
int^rieure. 

Blank  leaves  added  during  restorations  may  appear 
within  the  text.  Whenever  possible,  these  have  been 
omitted  from  filming  /  II  se  peut  que  certaines  pages 
blanches  ajout^es  lors  d'une  restauration 
apparaissent  dans  le  texte,  mais,  lorsque  cela  6tait 
possible,  ces  pages  n'ont  pas  6\6  fiim^es. 

Additional  comments  / 
Commentaires  suppl^mentaires: 


L'Institut  a  microfilm^  le  meilleur  exemplaire  qu'N  lui  a 
M  possible  de  se  procurer.  Les  details  de  cet  exam- 
plaire  qui  sont  peut-Mre  unkjues  du  point  de  vue  tXM- 
ographiique.  qui  peuvent  modifier  una  Image  reproduHe, 
ou  qui  peuvent  exiger  une  modificatton  dans  la  mitho- 
de  nonnale  de  filmage  sont  indkjute  ci-dessous. 

I     I  CokHjred  pages/ Pages  de  couleur 

I I  Pages  damaged  /  Pages  endomnfwgtes 

□  Pages  restored  and/or  laminated  / 
Pages  restaurtes  et/ou  peilicuides 

Pages  discotoured.  stained  or  foxed  / 
Pages  dteoiories,  tachet^es  ou  pk)u^s 

I     I  Pages  detached  /  Pages  d^tach^es 

r^  Showthrough/ Transparence 

□  Quality  of  print  varies  / 
Qualitd  in^gale  de  I'lmpression 

Includes  supplementary  material  / 
Comprend  du  materiel  suppi^mentaire 

Pages  wholly  or  partially  obscured  by  errata  slips, 
tissues,  etc.,  have  been  refiimed  to  ensure  the  best 
possible  image  /  Les  pages  totalement  ou 
partiellement  obscurcies  par  un  feuillet  d'errata,  une 
pelure,  etc.,  ont  6\6  film^s  k  nouveau  de  fafon  k 
obtenir  la  meilleure  image  possible. 

Opposing  pages  with  varying  colouration  or 
discotourations  are  filn^d  twk:e  to  ensure  the  best 
possible  image  /  Les  pages  s'opposant  ayant  des 
colorations  variables  ou  des  decolorations  sont 
fiim^es  deux  fois  afin  d'obtenir  la  meilleure  image 
possible. 


D 

a 


n 


This  Hun  It  (ilRMd  •!  iht  rtducilon  ratio  chtckcd  bttow  / 

C*  documtnt  t>t  film*  au  taux  da  reduction  indiqu<  ci>dtttous. 


1 

lOX 

14x 

18x 

22x 

26x 

30x 

1 

/ 

I 

12X 

16x 

20x 

24x 

28x 

32x 

TtM  copy  filmMl  hmn  haa  b««n  r«produc«d  thanks 
to  tho  gonorotity  of: 


L'oxomplairo  f  ilm4  f  ut  raproduit  griea  k  la 
g4n4roaM  da: 


DwM  Porttr  Art*  Library 
UnivwrsityofWMrloo 

Tha  imagaa  appaaring  hara  ara  ttia  baat  qualhy 
possibia  considaring  tha  condition  and  iaglbility 
of  tha  original  copy  and  in  kaaping  with  tha 
filming  contract  spacif icationa. 


Original  copies  in  printad  papar  covars  ara  fllmad 
beginning  with  tha  front  covar  and  anding  on 
tha  last  paga  with  a  printad  or  illustratad  impras- 
sion.  or  tha  back  covar  whan  appropriata.  All 
othor  original  copias  ara  fllmad  beginning  on  tha 
first  paga  with  a  printad  or  illustratad  impras- 
sion.  and  anding  on  tha  last  paga  with  a  printad 
or  illustratad  impression. 


D«w  Portsr  Arli  Library 
UnimtityofWatsrkM 

Lea  images  suh/antae  ont  4t*  reproduites  avae  le 
plus  grand  soin.  compta  tenu  de  la  condition  at 
da  la  nettet*  de  I'exemplalre  film*,  et  en 
conformity  avac  las  conditions  du  contrat  de 
fiimaga. 

Les  exemplaires  originaux  dont  la  couverture  en 
papier  est  imprlmie  sont  filmis  en  commen^ant 
par  la  premier  plat  et  en  termlnant  salt  par  la 
darnlAre  page  qui  comporte  une  empreinte 
d'impression  ou  d'lllustratlon,  soit  par  la  second 
plat,  salon  la  cas.  Tous  les  autres  exemplaires 
originaux  sont  filmte  wn  commenpant  par  la 
premiire  page  qui  comporte  une  empreinte 
d'impression  ou  d'illustration  et  en  terminant  par 
la  darnlAre  paga  qui  comporte  une  telle 
empreinte. 


The  last  recorded  frame  on  each  microfiche 
shall  contain  the  symbol  ^^- (meaning  "CON- 
TINUED"), or  the  symbol  V  (meaning  "END"), 
whichever  applies. 


Un  dee  symboles  sulvants  apparattra  sur  la 
dernlAre  image  de  cheque  microfiche,  selon  le 
cas:  la  symbda  — ►  signifia  "A  SUiVRE",  le 
symbols  Y  signlfle  "FIN". 


Maps,  plates,  charts,  etc.,  may  be  filmed  at 
different  reduction  ratios.  Those  too  large  to  be 
entirely  included  in  one  exposure  are  filmed 
beginning  in  the  upper  left  hand  corner,  left  to 
right  and  top  to  bottom,  as  many  frames  as 
required.  The  following  diagrams  illustrate  the 
method: 


Les  cartas,  planches,  tableaux,  etc.,  peuvent  Atre 
fllmte  A  des  taux  de  rMuction  diff^rents. 
Lorsque  te  document  est  trop  grand  pour  Atre 
reproduit  en  un  seul  clichA,  it  est  filmA  A  partir 
de  i'angia  supAriour  gauche,  de  gauche  A  droite. 
et  de  haut  an  bas,  en  prenant  le  nombre 
d'imagas  nAcessaire.  Les  diagrammas  sulvants 
iliustrent  la  mAthode. 


1  2  3 


1 

2 

3 

4 

5 

6 

MKMCOrV  MSOlUnON  TIST  OMIT 

(ANSI  and  ISO  TEST  CHART  No.  2) 


jk 


^^PPLIED  IN/HGE    Inc 

1653  Eost  Moin  Strtct 

RochMttr.  N«w  rorh         1«609       USA 

(716)   462  -  0300  -  Phoo* 

(716)  288-  5989  -  F<w 


By  WILLIAM  BORGE88 

The  Religion  of  Raskin 

A  Biomphical  and  Antholog- 
ical  Study 

Laiic  8to,  net  $2.50 


The  Bible  in  Shakespeare 

A  Study  oi  the  Relatioa  of  the 
Worki  of  William  Shakctpcart  to 
the  Bible 

Large  8vo,  net  $1.50 


If 


THE  BIBLE  IN 
SHAKSPEARE 

A  STUDY  OF  THE  RELATION  OF 
THE  WORKS  OF  WILLIAM 
SHAKSPEARE    TO    THE    BIBLE 

WITH  NUMEROUS  PARALLEL  PASSAGES,  QUOTA- 
TIONS, REFERENCES,  PARAPHRASES  Am  ALLUSIONS 

By      WILLIAM      BURGESS 

AUTHOR  or  "LAT  (IRMOHt  FKOM   •!■!.■   AND    SKAKtPIARI" 

"land,      LABOt      AND      LIQDOK."      BTC.      BTCI. 


•PR 

05209 


Niw  ToBK  Chicago  Tobonto 

Fleming    H.    Revell    Company 

London  and  Edinbukcii 


// 


lIBgARY 

HOLY  CROSS  Sf  MINARY 
LA  CROSSE,  WISCONSIN 


Connight,  1903,  by 
WILLIAM  BURGESS 


CONTENTS 


It 


Author's  Preface  I. — Introductory v 

Author's  Preface  II.— Was  Shakspeare  a  Christian  ? vii 

Gtrlyle  on  Shakspeare  as  a  Prophet xiv 

BOOK  mST.— THE  MINIsnY  OV  THE  POET. 

I. — The  Genius  of  Shakspeare 3 

II.— A  Greater  than  Genius H 

BOOK  SECOND.— SBAKSPEABE'S  BIBtlCAI,  TRANSLATIONS. 

I.^ — God  in  Shakspeare ig 

II.— Bible  Characters  in  Shakspeare 23 

III.— Scripture  Facts,  Incidents,  Places,  Etc 25 

IV.— Shakspeare  an  Interpreter  of  Bible  Words 27 

v.— Scripture  and  Shakspeare  Parallels 32 

BOOK  THnm.— THE  REUCIOUS  W0BU>  OF  SHAKSFEAKE. 

I— Versatility  of  Shakspeare  in  the  use  of  the  Bible 51 

II.— Types  of  Character  from  Scripture 6a 

III. — Heroes  and  Heroines ; 5^ 

IV. — The  Moral  Inculcations  of  Shakspeare 77 

v.— Tragedy  in  the  Bible  and  in  Shakspeare ,'.  g^ 

VI.— Religious  Thought  in  the  Plots  of  the  Plays 94 

VII. — Shakspeare  and  Immortality 103 

BOOK  FOUWH.— SCBIPTUBE  THEMES  IN  SHAKSFEAKE. 

Moral  and  Religious  Truths  arranged  in  Cyclopaedic  order 117-263 

BOOK  EDTH.— SHAKSPEARE  AND  TEMPERANCE. 

Shakspeare  and  Temperance agg 

General  Index !l!i!]!!!  370 

8i 


AUTHOR'S  PRBPACR 


The  loss,  by  fire,  of  all  the  manuscripts  of  this  work,  together  with  the 
corrected  proof-sheets,  explains  the  delay  of  its  publication  so  long  after 
the  date  announced  by  advertisement  and  prospectus.  On  Decembei  30^ 
1903,  the  entire  plant  and  buildings  of  the  printing  establishment  having 
the  work  in  hand,  were  toUlly  destroyed  on  the  eve  of  completing  the 
proofs,  together  with  my  work  of  years. 

It  became  necessary  therefore  to  prepare  the  matter  again  from  par- 
tial copy,  and  notes  in  hand.  The  verification  of  the  large  number  of 
references  and  quoUtions,  a  second  time,  enUiled  a  great  amount  of 
labor,  but  the  author  hopes  and  believes  that  the  work  has  not  suffered 
in  point  of  accuracy. 

The  preparation  of  this  work  from  the  beginning,  has  been  attended 
with  a  full  share  of  author's  troubles,  the  particulars  of  which,  however, 
•re  not  of  general  interest  i|»^  • 

No  thought  of  publication  was  in  mind  when  the  study  of  the  subject 
was  entered  upon  twelve  years  ago.  Certain  platform  utterances  and 
magazine  articles,  as  to  the  so-called  "absence  of  religion  in  Shakspeare," 
attracted  tiie  autiior's  attention  and  he  found  that  there  existed  a  ratiier 
general  thought  of  the  great  dramatist  as  irreligious,  or  at  least  that  his 
works  indicate  indiflference  to  tiie  subject  of  the  Christian  religion. 

These  statements  and  opinions  awakened  an  interest  in  the  shidy  as 
a  matter  of  personal  interest  but  the  evidence  against  them  was  found 
to  be  so  abundant  and  conclusive  that  it  amounts  to  a  revelation.  More- 
over it  did  not  appear  tiiat  the  subjects  embraced  in  "The  Bible  in 
Shakspeare"  were  before  the  pubUc,  in  any  way  available  to  tiie  ordinary 
student  or  reader. 

The  author  is  not  vain  enough  to  regard  this  work  as  the  best  that 
can  be  said  or  done  upon  the  subject.  It  is  quite  likely  tiiat  otiier  minds 
may  be  turned  in  the  same  direction  who  will  present  further  and  more 
profound  study. 

Already  we  have,  in  Denton  J.  Snider's  Commentaries,  a  valuable 
contribution  to  the  study  of  tiie  moral  questions  involved  in  the  great 
Shakspeare,  and  while  we  write  tiiese  prefatory  words  another  volume 


\ 


^  PRBPACB 

eomw  to  hMd  by  Prof.  Frank  C.  Sharp,  of  the  Univertlty  of  Wiiconsln 

much  that  •  valuable  and  interesting  to  the  general  study  of  the  ques- 
tion suted  in  the  title,  but  it  seems  to  us  that  Prof.  Sharp  makes  far  too 
much  of  the  absurdities  of  the  stories  of  the  Mwchant  of  Vbnick  and 
other  plays.  No  one  cares  to  enquire  closely  into  the  reasonableness  or 
otherwise  of  the  story  of  "the  pound  of  fle«h"  or  the  improbable  condi- 
tions on  which  Antonio  is  alleged  to  have  sought  and  found  a  loin  of 
two  thousand  ducats.  In  studying  the  moral  teachings  of  bhakspeare 
we  do  not  concern  ourselves  about  the  fictions  which  he  employed  aVthe 
•cafToIdrng  from  which  to  build  his  structure,  any  more  than  we  sUy  to 
askwhether  ^sop's  fables  are  facts,  when  we  apply  their  moral 

The  r^der  is  informed  that  the  King  James  version  of  the  Bible  has 
been  used  in  all  Scripture  quotations  for  this  volume.  There  is  no  uni- 
form standard  text  of  Shakspeare's  works  so  that  it  may  be  found  that 
■one  quotations  differ  a  little  from  the  versions  in  the  hands  of  the 
mder.  These  differences,  however,  are  not  of  sufficient  importance  to 
•ffect  their  general  accuracy  or  value. 


AUTHOR'S  PRBFACS 

II 

WAS  SHAKSPBARE  A  CHRISTIAN f 

It  if  not  here  intended  to  claim  Shakipeare  as  a  theological  itudent, 
or  that  he  ever  let  himself  the  task  of  propagating  any  set  of  religious 
doctrines.  It  is  acknowledged  that  "he  is  the  poet  of  secular  humanity." 
Yet  he  did  not  treat  sacred  themes  as  distinct  from  the  s-cular ;  but 
he  saw  the  divine  in  the  human,  the  spiritual  in  the  secular  and  he  made 
them  manifest  in  his  own  great  way,  sometimt  j  in  glimpses,  at  others 
in  flames  of  light.  ' 

It  is  claimed,  however,  that  he  drew  largely  from  the  Bible  for  his 
loftiest  thoughts  and  noblest  inspirations;  that  he  employed  Scripture 
teachings,  facts,  poetry,  philosophy  and  language  in  his  writings;  that 
he  was  a  smcere  believer  in  the  teachings  of  Scripture  and  that  he 
accepted  the  orthodox  views,  current  in  his  day,  of  the  main  doctrines 
of  the  Christian  religion. 

These  claim*  are  established  by  a  large  number  of  affinities,  allusions, 
references,  paraphrases  and  quotations  to  Scripture  text  and  teaching 
which  are  taken  from  almost  every  part  of  Shakspeare's  works.  That 
these  are  not  accidental,  but  bear  the  marks  of  design  or  purposed  refer- 
ence, IS  beyond  all  doubt  when  their  number,  frequence  and  circum- 
stances  are  considered.  These  quotations  are  so  accurate  in  spirit  and 
application,  the  allusions  so  numerous  and  apposite,  the  historic  refer- 
ences so  varied  and  correct,  that  only  one  acquainted  with  the  Scrip- 
tures could  have  so  employed  them. 

The  question  naturally  arises ;— by  what  means  did  Shakspeare  become 
so  well  versed  in  the  Scriptures  ? 

In  Shakspeare's  time  the  Bible  was  the  standard  literature  of  his 
country.  The  time  had  passed  away  when  "the  translation  and  reading 
of  the  Bible  in  the  common  tongue"  was  treated  as  "heresy  and  a  crime 
punishable  by  fire."  It  was  no  longer  a  forbidden  book,  but  was  the  one 
book,  almost  the  only  book,  within  the  reach  of  the  common  people  If 
Shakspeare  had  the  advantage  of  any  book  in  his  eariy  home  that  book 
was  probably  the  Bible.    Indeed  it  is  probable  that  no  other  books  were 

vii 


nu 


PRMFACB 


available  to  him,  during  his  early  days,  except  perhaps  Plutarch  and 
such  glimpses  of  history  and  the  classics,  as  he  could  obtain  in  his  les- 
sons at  scho^.J 

Erasmus  had  said,  only  a  few  years  before,  "I  long  for  the  day  when 
the  husbandman  shall  sing  portions  of  the  Scriptures  to  himself  as  he 
follows  the  plough,  when  the  weaver  shall  hum  them  to  the  tune  of  his 
shuttle,  when  the  traveler  shall  while  away,  with  their  stories,  the  weari- 
ness of  his  journey." 

That  time  had  come.  The  days  of  the  Reformation  were  at  hand. 
The  poetry  and  the  songs  of  the  people  were  of  the  psahns  and  prophe- 
cies. The  whole  atmosphere  of  social,  and  even  political  life,  was 
charged  witli  the  inbreathing  of  old  testament  law  and  of  new  testament 
gospel. 

The  picture  which  Green  has  given  us  in  his  "History  of  the  English 
People"  graphically  sets  forth  the  marvelous  relation  which  the  Bible  at 
that  time  sustained  to  the  country :  — "  No  greater  moral  change  ever 
"  passed  over  a  nation.    England  became  the  people  of  a  book  and  that 
"  bnok  was  the  Bible.    It  was  as  yet,  the  one  English  book  that  was 
"  familiar  to  every  Englishman ;  it  was  read  at  churches  and  read  at 
"  home,  and  everywhere  its  words,  as  they  fell  on  ears  which  custom  had 
"not   deadened  to  their   force  or  beauty,  kindled  a  startling  enthu- 
"  siasm.  ...  No  history,  no  romance,  no  poetry,  save  the  little-known 
"  verses  of  Chaucer,  existed  for  any  practical  purpose  in  the  English 
"  tongue  when  the  Bible  was  ordered  to  be  set  up  in  churches.    Sunday 
"  after  Sunday,  day  after  day,  the  crowds  that  gathered  round  Bonner's 
"  Bibles  in  the  nave  of  St.  Paul's,  or  the  family  group  that  hung  on  the 
"  words  of  the  Geneva  Bible  in  the  devotional  exercises  at  home,  were 
"  leavened  with  a  new  literature.    Legends  and  annals,  war  song  and 
"  psalm.  State-rolls  and  biographies,  the  mighty  voices  of  prophets,  the 
"  parables  of  the  Evangelists,  stories  of  mission  journeys,  of  perils  by 
"the  sea  and  among  the  heathen  philosophic  arguments,  apocalyptic 
"visions,  all  were  flung  broadcast  over  minds  unoccupied  for  the 
"  most  part  by  any  rival  learning.  ...  But  far  greater  than  its  effects 
"  upon  liteniture  or  social  phase  was  the  effect  of  the  Bible  on  the  char- 
"  acter  of  the  people  at  large.  .  .  .  The  whole  moral  effect  which  is  pro- 
"  duced  nowadays  by  the  religious  newspaper,  the  tract,  the  essay,  the 
"  lecture,  the  missionary  report,  the  sermon,  was  then  produced  by  the 
"  Bible  alone.    And  its  effect  in  this  way,  however  dispassionately  we 
"  examine  it,  was  simply  amazing.    The  whole  temper  of  the  nation  was 
"  changed.   A  new  conception  of  life  and  of  man  superseded  the  old.  A 
"  new  moral  and  religious  impulse  spread  through  every  class.  .  .  .  The 
"  whole  nation  became,  in  fact,  a  church." 


WAS  SHAKSPEARE  A  CHRISTIANf  lx 

en!lT;  Z^V»  "  '*""'^  *•"*  *"  ^'  "°™'  '«^*'  "nder  the  influ- 
!^r~'.    f       5  '  "T"^*  *"""  ***  *=°""*'y  <^""''«  the  period  of  Shak. 

flC  nVrT*^  Z"^^' '.'  *  "  '^  ^^  *°  P""'^«  ***  *  ^°"dro"»  daily 
flood  of  light  and  inspiration  must  have  come  to  his  mind  from  this 
source* 

But  even  this  does  not  tell  all  the  story.    This  period  was  the  imme- 

M^LT""""  ^  T  'P'^"^''^  "S"  °*  '^'  P""^"«  ^hich  gave  us 
MUton  Bu„ya„,  Hooker  and  others,  and  vUch  created  an  irrSstible 

t^^»  r  authorized  version  of  the  English  Bible  such  as  could  be 
a>^ilable  and  acceptable  to  the  common  people. 

The  reign  of  Elizabeth  was  followed  by  James  I  and  he  was  wise 
enough  to  appreciate  the  spirit  of  the  times.'  He  appointed  a  C^I^t 

schtlT,         *^  ""^f".  ""!.  **  '^^'  "'«^'"^  *^^^°-  the  vTriou 
schools  of  learning,  and  of  the  church,  of  whom  the  names  of  forty- 
seven  are  preserved  to  us.»  ' 

The  work  of  translating  the  Bible  was  undertaken  by  this  learned 
body  in  1604  and  concluded  in  1611.  These,  with  the  five  yearTXt 
followed,  were  the  greatest  of  Shakspeare's  life,  during  which  he  wrote 
his  greatest  dramas.    He  died  in  1616  Kwnicnne  wrote 

thl^Tf**"""^  *"  *'  ^'°^  °*  ^'^  "^«'  *e  Bible  was  the  most  popular 
theme  of  conversation  and  discussion,  growing  more  and  moJe^^nJo 
SI?  "r  ".'  P-hlic  esteem,  until  it  became  the  most  aSLrng  t^c 
of  political  and  general  interest,  culminating  in  the  greatest  and  mZ 

Jo't'wrid': ''  ''"^^  *^^"'^*^°"  ^"^  ''^'y  *^*  HaTrvrbT ;;«:: 

th^,  J!;'^''^'!  ""^^  "^^^  "°*  '**"'^ted  with  Bible  idiom,  language  and 
thought,  in  such  an  age  would  be  inconceivable 

A  perusal  of  the  parallel  passages  in  which,  in  this  volume  Bible  auo- 
^tions  are  placed  side  by  side  with  those  from  Shaks^^  wH  7how 

Characters,  facts,  figures,  doctrines  and  laws,  in  the  author's  own  Ian- 

^nf  m^eiroTsTaCr""^^  °"^  ''  '''  ^^^  remarkable^ S;e 

■'sforine"h!fmfn"c!'?H°^  ''"  '  ""*"^  ^^°  ""^^^  ^  foIlows:_"In 
"worTs^o^G^  fn  H  ^'''l^'"'  ^"*  *°  *he  word  and  then  to  the 
■'  n^  aL    ■     .   "  ''"P'"«^  *he  truths  derived  from  these  sources  hi 

■'s^'re     Hentr  '"'''''''1 ''  '^^  ^''^  ''^^  formed  W^Shak! 
"tW    u-  ?•  "  P""^^'  °^  '"^P*""g  "s  with  sublime  aff=^tion  for 

'  «rd^;^^;'  p-pj^y  good  and  of  chilling  us  with  ho^^^by  hrfi" 

fu!  delineations  of  evil.     Shakspeare  perpetually  reminds  us  of  the 
'Encyclopedia  Britannica.    Article  on  the  English  Bible. 


X  PREFACE 

"  Bible.  ...  A  passage,  for  instance,  rises  in  our  thoughts  unaccom- 
"  panied  by  a  dear  recollection  of  its  origin.  Our  first  impression  is 
"  that  it  must  belong  either  to  the  Bible  or  Shakspeare.  No  other  author 
"  excites  the  same  feeling  in  equal  degree.  In  Shakspeare's  plays  relig- 
"  ion  is  a  vital  and  active  principle  sustaining  the  good,  tormenting  the 
"  wicked,  influencing  the  heart  and  lives  of  all."* 

A  more  recently  published  work  gives  this :  —"We  believe  that  the 
"  home  education  of  William  Shakspeare  was  grounded  on  the  Bible, 
"  and  that  if  this  Book  had  been  sealed  to  his  childhood  he  might  have 
"  been  the  Poet  of  nature,  of  passion,— his  humor  might  have  been  as 
"  rich  as  we  find  it  and  his  wit  as  pointed,  but  that  he  would  not  have 
"  been  the  Poet  of  the  most  profound  as  well  as  the  most  tolerant  philos- 
"  ophy ;  his  insight  into  the  nature  of  man  (his  meanness  and  his  gran- 
"  deur,  his  weakness  and  his  strength)  would  not  have  been  what  it  is."» 
Dr.  A.  H.  Strong.  Pres.  Rochester  Theological  Seminary,  says:— "I 
"  challenge  any  man  to  find  unbelief  in  the  dramatis  personae  of  Shak- 
"  speare's  plays,  except  in  cases  where  it  is  the  manifest  effect  or  excuse 
"  of  sin,  reproved  by  the  context,  or  changed  to  fearful  acknowledgment 
"  of  the  truth  by  the  results  of  transgression.  In  his  ethical  judgments 
"  he  never  makes  a  slip;  he  is  as  sure-footed  as  a  Swiss  mountaineer;  he 
"  depicts  vice,  but  he  does  not  make  it  alluring  or  successful."* 

And  as  to  the  personal  faith  of  the  Poet  the  same  writer  remarks :  — 
"  There  is  no  trace  of  Mariolatry,  nor  of  dependence  for  salvation  upon 
"  ritual  and  ceremony.  ...  In  an  age  of  much  clerical  corruption  he 
"  never  rails  at  the  clergy.  While  he  has  some  most  ungodly  prelates 
"  his  priests  are  all  a  credit  to  their  calling.  Xone  of  his  characters  are 
'*  disseminators  of  scepticism.  I  cannot  explain  this  except  by  supposing 
"  that  Shakspeare  was  himself  a  believer.  Though  he  was  not  a  theo- 
"  logical  dogmatist,  nor  an  ecclesiastical  partisan,  he  was  unwaveringly 
"  assured  of  the  fundamental  verities  of  the  Christian  scheme.  Shak- 
"  speare  had  dug  clown  through  superficial  formulas  to  the  bed-rock  of 
"  Christian  doctrine.  He  held  the  truths  which  belong  in  common  to  all 
"  ages  of  the  church.  If  any  deny  the  personality  of  God  or  the  deitv  of 
"  Christ,  they  have  a  controversy  with  Shakspeare.  If  any  think  it 
"  irrational  to  believe  in  man's  depravity,  guilt,  and  need  of  supernatural 
"  redemption,  they  must  also  be  prepared  to  say  that  Shakspeare  did  not 
"  understand  human  nature." ' 

The  manuscript  of  the  present  volume  was  neariy  completed  when 
the  author  received  the  compliment  of  a  presentation  copy  of  a  new  book 

|"Shak5fwarc  and  the  Bible."    By  Rev.  J.  R.  Eaton,  Norwich.  England. 
'"  i^hakspeare's  True  Life."    By  Maj  ir  Walter.     (Longtnans,  1890.) 
•The  Great  Poets  and  their  Theology,  pp.  .210,  311. 


IVAS  SHAKSPBARB  A  CHRISTIAN?  st 

from  London  be  .ing  the  title  of  "The  Christ  in  Shakspeare."  The 
Writer  is  a  profound  believer  in  the  religious  element  in  Shakq>eare  and 
^specially  in  his  Sonnets.  He  claims  fifty  of  them  as  decidedly  Chris- 
tian in  spirit  and  teaching.  He  says : — "Some  true  poets  have  written  a 
"  few  good  hymns,  yet  amongst  these  none  have  succeeded  in  expressing 
'*  their  thoughts  with  the  felicity  and  strength  of  these  glorious  sonnets, 
"  which  harmoniously  glow  in  perfect  accord  with  the  highest  aspira- 
"  tions,  to  the  honor  and  praise  of  him  who  is  above  all.  It  is  no  fancy 
"  but  an  admitted  truth,  that  the  spiritual  mind  of  our  author  is  brought 
"  to  light  by  the  light  of  the  Bible  and  his  deep  musings  therein  found 
"  their  delightful  embodiment  in  a  more  poetic  correspondence  with  one 
"  or  more  earthly  friends.  .  .  .  Although  the  Poet's  primary  aim  was 
"  ir*  to  di3play  his  spirituality  to  a  general  reader,  if  he  ever  pondered 
"  such  a  thing,  he  had  never  the  wish  to  hide  from  his  friend,  or  froni 
"  anyone,  the  exalted  views  which  he  had  derived  from  the  study  of  the 
"  Scriptures."  * 

About  the  same  time  came  another  indication  of  the  growing  disposi- 
tion to  interpret  Shakspeare  in  the  light  of  the  Scriptures.  The  author 
of  a  pamphlet  entitled  "The  Shakspearean  Reconciliation"  claims,  in  his 
thoughtful  little  treatise,  that :— "Shakspeare's  standpoint  was  a  thor- 
"  ough  understanding  of  the  Bible  as  it  is  beginning  to  be  understood  in 
"  our  days.  The  world  in  general,  not  being  literary,  has  had  to  be 
"  taught  by  a  laborious  criticism  that  the  Bible  is  literature  and  not 
"  science.  Shakspeare  recognized  the  poetry  of  the  Biblical  moralists 
"  with  the  same  sure-glance  with  which  he  recognized  his  own  poetry. 
"  In  particular,  in  certain  sayings  of  Christ,  whence  others  drew  dogma, 
"  he  could  perceive  at  once  poetical  synthesis ;  his  own  highest  poetical 
"quality." 

The  ordinary  and  natural  reading  of  the  Poet  suffices  to  find  religion 
in  some  way  or  other,  breaking  in  at  the  most  trivial  incident  and  cir- 
cumstance, as  well  as  in  the  more  striking  events  and  distinguished  char- 
acters. The  pious  phrases  of  the  times  are  constantly  in  evidence. 
Indeed,  the  frequent  use  of  Scripture  language  and  pious  exclamations 
by  the  grossest  and  vilest  of  persons  is  somewhat  shocking  to  oar  sense 
of  reverence.  And  yet  this  is  one  of  the  surest  marks  of  the  Poet's 
familiarity  with  the  Bible,  as  well  as  a  true  index  to  his  apprehension  of 
every  variety  of  human  society. 

That  Shakspeare  was  a  sincere  believer  in  the  Bible  from  which  he 
drew  so  copiously,  and  in  the  doctrines  taught  therein,  is  a  fact  estab- 
lished beyond  doubt.    Pagan  philosophy  is,  of  course,  fitly  associated  in 

'"'"'■-f  in  Shakspeare."    By  Charles  Ellis,  London,  1897. 


xii 


PRBFACB 


his  dramas  with  the  gods  of  its  own  creation.  The  Poet's  works  are  a 
mirror  of  hmnanity  and  his  pictures  of  heathenism  are  true  to  the  sul>- 
ject. 

But  God  was  in  his  thoughts.  He  reverently  acknowledges  the  God 
of  the  Bible  in  all  His  various  attributes.  /He  holds  up  to  *riew  the 
divine  side  of  man.  All  his  best  men  and  women  do  homage  to  the 
Divine  and  his  worst  characters  are  shown  to  be  in  dread  of  the  law  of 
God  and  the  ends  of  justice. 

God,  as  distinct  from  pagan  gods,  is  mentioned  in  at  least  thirty  of 
his  thirty-seven  plays  and  nearly  seven  hundred  times.  As  many  as 
forty  differoit  terms  or  exclamations  are  employed  in  his  references  to 
the  Divine  Being,  most  of  which  are  taken  from  the  Bible.  These  are 
given  together  with  the  Shakspeareati  text  in  the  dapber  on  "  God  iq 
Shakspeare." 

Frequent  references  are  made  to  Jesus  Christ  as  "Saviour," 
"Redeemer,"  "Lord"  as  may  be  seen  in  the  chapter  on  "Scriptur*. 
Themes."  That  these  were  in  harmony  with  his  own  faith  and  not 
merely  expressions  accommodated  to  his  characters  is  a  necessary  con* 
elusion  on  reading  the  following  paragraph  taken  from  the  opening 
paragraph  of  the  "last  will  and  testament  of  William  Shakspeare":— 

"/  eommtnd  my  soul  into  tkt  hemds  of  God  my  Creator,  hoping,  tmd  aimrtdly 
believing  through  th€  mtrUt  of  Jtnu  Christ,  my  Saviour,  to  be  made  Partaker  of 
life  everkutiug." 

To  this  may  be  added  the  following  from  the  Life  of  Shakspeare 
published  in  Knight's  edition  of  his  works : —"Whatever  was  the 
immediate  cause  of  his  last  ilhiess  we  may  believe  that  the  closing  scene 
was  full  of  tranquillity  and  hope ;  and  that  he  who  had  sought,  perhaps 
more  than  any  man,  to  look  beyond  the  material  and  finite  things  of  the 
world,  should  rest  in  the  'peace  which  passeth  all  understanding'  in 
that  assured  belief  '  "  h  the  opening  of  his  will  has  expressed  with  far 
more  than  formal  lity." 

In  face  of  such  testimony,  he  must  be  wilfully  blind  who  will  deny 
that  this  man  spoke  the  language  of  his  own  heart  and  soul,  when  he, 
at  various  times  and  through  various  characters  exclaims:  — 

"  The  precious  image  of  our  dear  Redeemer." 

"  The  world's  ransom,  blessed  Mary's  son." 

"  By  the  death  of  him  who  died  for  alL" 


IVAS  SHAKSPBARB  A  CHRlSTlANf  j^ 

"  I  charge  you  as  yoa  hope  to  have  redemption." 

"By  Chrut's  dear  blood  abed  for  our  grievous  sins." 

.        "  In  those  holy  fields, 
Ova-  whose  acres  walked  those  blessed  feet 
Which  fourteen  hundred  years  ago,  were  nail'd 
For  our  advantage  on  the  bitter  cn»s." 

Thus  it  is  seen  that  Shakspeare  drank  so  deeply  from  the  weUs  of 
Scripture  that  one  may  say,  without  any  straining  of  the  evidence,  with- 
out the  Bible  Shakspeare  could  not  be.  .\nd  if  it  were  possible  to 
suppress  every  copy  of  the  sacred  volume  and  obliterate  its  very  exist- 
ence as  a  book,  the  Bible  m  its  essence  and  spirit,  iu  great  doctrines 
Of  mfinite  justice,  mercy,  knre  and  redemption,  as  well  as  a  vast  store 
of  its  most  precious  sayings,  would  yet  live  in  Shakspeare. 


lVhon,er  looks  intenigently  at  this  Shakspeare  may  recognize  that  he 
was  a  prophet  in  his  own  way,  of  an  insight  analogous  to  the  prophetic 
though  he  took  up  another  strain.  Nature  seemed  to  this  man  also 
divtne:  unspeakable,  deep  as  Tophet,  high  as  Heaven.  'We  are  such 
stuff  as  dreams  are  made  oft"  That  Scroti  in  Westminster  Abbey, 
which  few  read  with  understanding,  is  of  the  depth  of  the  sea. 

We  may  say  xvithout  offense,  that  there  rises  a  kind  of  universal  psalm 
out  of  this  Shakspeare,  too;  not  unfit  to  make  itself  heard  among  the 
still  more  sacred  Psalms.  Not  in  disharmony  with  these,  if  we  under- 
stood  them,  but  in  harmony.  I  cannot  call  ihis  Shakspeare  a  sceptic  as 
some  do;  his  indifference  to  creeds  and  theological  quarrels  of  his  time 
misleading  them.  No;  neither  unpatriotic,  though  he  says  little  about 
hu  patriotism;  nor  steptic,  though  he  says  little  about  his  faith. 

"The  Hero  as  a  Poet."     Thomas  Corlyle. 


idv 


at  he 
hetic, 
also 
such 
ibey. 

salm 
the 
der- 
€  as 
Hme 
)out 


BOOK  FIRST 


The  Ministry  of  the  Poet 


/.    THB  GENIUS  OF  SHAKSPBARB 
11.    A  GRBATER  THAN  GENIUS, . 


THB  GENIUS  OF  SHAKSPBARB 

hJlf r!!;!S*  *""  '"'  '•'""  Shakspeare.  the  world  would  wew^r  of 
hi8  oft-repeated  praises.  As  subject  for  essayist  ooet  or  «r.to/21^; 
imequalled  among  men.  save  only/ Jesus  ofTazlmh^  ''^  " 

No  other  literary  work,  the  Bible  excepted,  can  justify  the  manv 
^mentanes.  concordances,  essays  and  lectures  which  SveevolvS 
from  the  dramas  and  poems  of  the  bard  of  the  Avon 
«Ji'  ««;;"»»  "  a  mountain  which,  like  Mont  Blanc  of  the  Alos 
overtop,  all  others.  But.  for  this  very  reason,  he  has  oft»  bm^  viewS 
out  of  perspective.  Perhaps,  more  frequently,  the  eye  has  bl«f^ T^^ 
attracted  toward  some  towering  peak^r  prof;Sng  ^"to^e  «clusi^ 
of  a  more  important  or  essential  feature  of  the  mounS. 

the'Jl^fZd-rjI^ent^,^  tta^^^r^'^/  ^  ^^^  ^»^' 

:;;^nrr  r  °"  ^i  ^^  ^^^^  /r^reiic^^ttrnr ::  t:::, 

evils  and  social  ma,  the  toculcation  of  Christian  laith  m,«i™Tj 
Scnptum,-^!  so  conspieuous  ai>d  pervasive  in  Shakspeare-a™  m 

^'3',i;:;^v^,re.r""'  ^  -^'"^"^ 

«eu  t       """"^™rers.    A  promment  magazine  writer  telU  u«  thaf 

who  .^ ,« too  „,^t7;.<,  elldS  *;  t.i;rs«°o?X 

drama  and  so  overlook  its  spirit  and  the  sonrc^l  ■  ^    ■     \     * 

impulse  which  prLptedT  S^^o  «riro„t"w?otl '"""'  '"!'  *'  «'°"-» 
whole  s«nM:  that  moment  v^the  obSrJirtS  T*^^.!''  "'*  *°  "terpokte 
itie,  of  Wte«tu«."  Dismeli.  Vol  II  p"^.  "  "^"^    "^"^ 


THE  UISISTRY  OF  THE  POET 


What  may  be  called  the  "  Mystery  of  Shaktpeare  "  it  one  of  the  most 
interesting  and  also  one  of  the  most  puzzling  of  literary  problems.  How 
can  we  reconcile  what  little  is  known  of  William  Shakspeare  with  the 
present  universal  sweep  of  his  fame  and  the  acknowledged  supremacy 
of  his  works  in  the  world  of  literature?  How  can  we  recognize  in  the 
young  man  of  Strat  ford-on- A  von,  whose  education  was  hardly  up  to 
the  present  day  grammar  school  standard,  the  author  of  the  thirty- 
seven  great  dramas,  which,  together  with  the  poems  constitute  not 
only,  one  of  the  greatest,  but  the  greatest  works  of  literary  art  ever 
evolved  from  the  mind  of  any  one  man  ?  How  can  we,  in  this  twentieth 
century,  acknowledge  a  strolling  play-actor  of  three  centuries  ago,  who 
never  attained  unto  the  literary  circles  of  his  own  day,  as  the  king  whom 
we  delight  to  crown  the  greatest  of  all  in  the  literary  world  ? 

These  questions  stand  in  the  light  of  the  following  facts :  — 

(a)  Not  a  scrap  of  all  the  original  manuscripts  of  all  the  works  that 
bear  the  name  of  Shakq)eare  is  known  to  exist. 

(b)  There  is  nothing  in  the  records  of  Stratford-on-Avon,  either  in 
the  local  registers  of  events,  in  the  records  of  the  Courts  or  the  Church, 
or  in  the  known  circumstances  of  the  man  to  identify  William  Shak- 
speare with  these  works. 

(c)  The  only  original  document  we  have  as  unquestionably  Shak- 
speare's  is  his  "Will ;"  yet  this  "Will"  does  not  make  the  slightest  allu- 
sion to  the  manuscripts  or  printed  copies  of  these  works,  or  to  any  value 
or  interest  that  might  accrue  from  them  to  his  heirs. 

Briefly  stated,  this  is  the  back-ground  against  which  is  thrown,  the 
general  announcement  of  the  works  which  bear  his  name,  as  the  prod- 
ucts of  William  Shakspeare. 

Against  this  back-ground,  however,  we  are  confronted  with  certain 
other  facts,  no  less  significant  and  still  more  definite  and  arbitrary. 

I.  These  works  are  here.  The  plays  and  poems  which  the  literary 
world  and  the  publishers  of  his  times,  or  shortly  after,  by  common  con- 
sent accredited  to  Shakspeare  and  which  have  been  generally  accredited 
to  him,  for  nearly  three  hundred  years,  are  not  myths  but  facts.  They 
are  in  our  possession, —  treasures  of  incomparable  value.  The  Tempest, 
Winter's  Tale,  Midsummer  Night's  Dream,  Merchant  of  Venice,  Hamlet, 
Macbeth,  Cxsar,  Othello,  Rcxneo  and  Juliet  and  the  history  plays  of 
England: — all  these  are  present  day  possessions.  They  are  tangible 
and  real, — the  monumental  mountains  of  some  great  genius, — ^an 
inheritance  that  wasteth  not,  is  not  subject  to  moth,  or  rust,  or  decay 
of  time,  but  continues  to  g^w  like  an  eternal  Banyan  tree  with  multi- 
plying greatness  and  value. 


THB  GENIUS  OP  SHAKSPBARB 


A^J^Z  ^^  ^*-  '"'"''*•  ^'***  ■"<*  •uperlatire  a>  they  are.  thcv 
do  not  belong  to  the  realm  of  the  .upematu™!.  They  are  beySid  aH 
quest  c«,  the  product,  of  h«nan  geniu..  While  they  ^"'„e'*^« 
up  a.  on  the  wings  of  eagle,  and  «»r  to  realm,  of  fancy  and  viaion 
tf^ey  take  the.r  flight  like  the  Engli.h  lark,  from  the  ground  S 
are  of  the  earth.-earthy :  of  the  human.-humanly.  ^ 

.tudent  of  Enghsh  history  can.  by  any  stretch  of  time  or  facts,  place, 
these  works  m  any  other  period  than  that  of  the  last  Quarter  of  fhT 
sixteenth  and  the  first  quarter  of  the  seventeenth  cL'^'^rj;^,'^*^^! 

the  name  of  some  other  geniu,  of  the  same  period  of  time.    To  do  th  . 

temL^VlThlh'r  """"^  ?  *'*  '^^  "•-  -"^o  --  -* 

«X  Thel  H  H  iwu'''  °''..*''°  '°"°**^  '"  «  clo'*  line  of  suc-f 
cession.    They  had  all  the  tradition  and  evidence  of  the  timL  V^a 

whatever  else  they  thought  of  the  plays  thev  reSrrfL  ♦k  t  Jf 
doubt,  as  substantially  th'e  work  o1  ShaCar^revt   ^t^af^^^^^^ 

plays  as  the  plays  of  William  Shakspeare.  Fifty  year  a  er  Drvdi! 
tTZ^'  I  *'.*  ^'r  °'  ""^•^^P^^-  •'-^  become  a  iitte^bS^fe" 

•^Lne  I'nLt    r'-'"''^*'"*  P'*^'  '^y  '•'"^^^  wholly  ne5«ted 
ow  ng  m  part  to  the  immediate  revolution  and  rebellion  and  mhIv  ♦« 

comprehensive  genius  ^^m^t.^L^  denied  expression,  or  hi,  free  an^ 
Milton's  earlierVfcs  refl  ct^h^j^^orn    "L"d^  ^"^  '°^'""««  ^ 

English  dramatic  poetry.  The  PuriUn  t  "  "  *^f°"l  °^  ^""^  ^°'''"'  »«*  °^ 
through  the  whoIeTriL  of  ShaksplrewLr'  ?.'i"'*'^  *""  """"^  ^P^^^'^Sl 
his  death  it  had  closed  the  th«te  Hnd  .^  V^'**""  '^""yfi^e  y«rs  after 
right  to  live  according  to  clnTd^ce  gl^l^^  «  '  ^"'^"'*'  ''^''*  '°'  *''** 
the  great  schism  which  was  to  d?vrti.e?Sr„  'r*:"^  °"  *'  **»»'  '"en 
«3ge  of  growing  divergence  of  sS  T^a  7,?  -     '^f?'*  '^**  "°*  8one  beyond  tha 


THB  UtniSTRY  OF  THB  POET 


' 


The  attanpt,  in  recent  yean,  to  tubititute  the  name  of  a  Khdar  and 
a  philoeopher  for  that  of  Shaktpcare  as  the  author  of  theie  works  has 
fallen  and  will  soon  be  forgotten.  A  great  scholar,  like  Bacon,  could 
not  have  written  these  dramas  even  Iiad  he  possessed  the  genius  as  well 
as  the  scholarship.  As  a  scholar  he  could  not  have  made  the  misukes 
of  Shakspeare. 

As  to  the  absence  of  the  manuscripts,  the  perplexity  is  not  removed 
but  deepened,  if  it  be  deemed  supposable  that  the  works  were  written 
by  Bacon  instead  of  by  Shakspeare.  It  is  conceivable  that  a  man  of 
Shakspeare's  habits  and  environmtiit  might  place  no  value  upon  the 
written  play».,  except  as  stoge  property  for  which  they  were  exclusively 
written.  But  we  cannot  conceive  of  a  great  scholar  and  philosopher 
working  out  from  his  intellectual  consciousness  so  magnificent  a  work, 
as  for  example  the  play  of  Hamlet,  without  perceiving  its  literary  merit 
and  placing  a  value  upon  the  manuscript  for  preservation  and  inher- 
itance. We  can  see  why  Shakspeare  might  attach  no  value  to  those 
manuscripts  for  his  heirs  but  it  is  not  supposable  in  regard  to  a  man  who 
appreciated  his  own  literary  attainments,  who  was  in  a  position  to  esti- 
mate their  future  value  and  who  was  so  careful  of  the  fame  and  reward 
which  his  talents  and  labor  might  bring. 

Had  Bacon  written  the  masterpieces  of  poetic  genius  which  are  found 
in  all  the  greater  plays  he  could  have  found  means  to  introduce  them 
to  his  own  world  of  literature  and  secure  their  recognition  as  such. 
But  to  Shakspeare  this  was  a  closed  door.  Plays  written  for  the 
stage  were  not  recc^ized  in  the  realm  of  literature.  When  in  1586 
(or  thereabouts)  Shakspeare  went  to  London  he  found  many  plays  in 
the  green-room  of  the  theater.  Mr.  Mabie  has  told  the  story  of  the 
public  attitude  towards  such  plays  so  well  that  we  take  the  liberty  to 
quote  him  again :  — 


"These  plays  were  drawn  from  nuuiy  foarces;  they  were  often  composite;  in 
many  cases  individual  authorship  had  been  forgonen,  if  it  had  ever  been  known; 
no  sense  of  personal  proprietorship  attached  to  them ;  they  belonged  to  the  theater ; 
many  of  them  had  been  revised  so  many  times  by  so  many  hands  that  all 
semblance  of  their  first  forms  had  disappeared ;  they  were  constantly  changed  by 
the  actors  themselves.  These  plays  were,  in  some  instances,  not  even  printed: 
they  existed  only  as  unpublished  manuscripts;  in  many  cases  a  play  did  not  exist 
ft  an  entirety  even  in  manuscript:  it  existed  only  in  parts  with  cues  for  the 
different  actors.  The  publication  of  a  play  was  the  very  last  thing  desired  by 
the  writer,  or  by  the  theater  to  which  it  was  sold  and  to  which  it  belonged,  and 
every  precaution  was  taken  to  prevent  a  publicity  which  was  harmful  to  the  inter- 
ests of  author  and  owner.  The  exclusive  ownership  of  successful  plays  was  a 
laige  part  of  the  capiul  of  the  theaters.    Shorthand  writers  often  took  down  the 


THB  CBMIVS  OP  SHAKSfBARB  f 

-^^__-j  cl  •eton,  uid  in  this  w«jr  phr<  wwt  ttoha  tiid  •«mpdtlow|y  printctt! 
k«*V  wtre  f ull  of  dl  manner  o(  InKcundti,  th.  »WW2,\«S!i 

iWur.  did  not  regird  it  u  •vtikbl.  for  p«Nfc«tioIi."         «»»  •  work  to  » 

In  ^wiT"*"*  "^  °'  '''•*°^  •uflkiently  explain,  the  little  e.teem 
fa  which  the  mtnuicnpti  were  held  u  literature.  In  view  of  all  theiM* 
cofuideratioiu  the  wonder  U,  not  that  we  know  so  Uttle,  but  that  we 
know  lo  much  of  Shakipeare  and  hii  work*.  *  uh«  we 

Here  i.  the  marvel  I  Out  of  virgin  toil  there  sprang  one  who.  by  hi. 
C'rc"Tirr''  '^•^."J*  ^'^'^  •»*ge-wori7?„to  the  r^Tot 
hun«n  I  fe  jnd  experience.  Hi.  work,  were  the  ma.terpiece.  of  liter- 
ature.   If  the  new  tntellectual  world  of  hi.  day  wa.  incppable  of 

^^'Zl  "'%??"  '*  •"PP""'  ^'^  nuterJand  a^SSSl  tSJ 
•pmtthatnuv.  .  Shak.peare  poMible.  "At  the  critical  moment  Shak- 
^e  appear*^  a,  the  Columbu.  of  that  new  world.    Pioneer,  had 

l?^7Ji  !•  "^^f'"'  «=~Py>"K  »  portion  of  almo.t  lonely^andeur 
m  the  tMlation  and  completene..  of  hi.  work."«  "laeur 

Whence  then  hath  this  man  the«  great  thing,?  If  he  i.  the  world'. 
grejct  hterary  fact,  in  what  consist,  hi.  superior  power  ? 

There  i«  one  word  which  ha.  been  used  of  late  in  reference  to  Shak- 
jpeare  and  which ..  a«Tibed  to  h.m  alone.  It  is  the  word  "universal^  •' 
Many  men  have  done  great  things  along  ««ne  one  line.  Tl^eTha^e 
d^own  themselves  masters  of  some  one  fo™  of  art.  To  quote^he  wor J! 
of  an  able  wr  ter  "Rembrandt  must  teach  us  to  enjoy  ?he  .t™e2e  of 
hg^w.tU  darkne».  Wagner  to  enjoy  peculiar  musiiaf  eLrDfcke^. 
^^LC-\T  °"''  »*"*>"««»»%.  Aftemus  Ward  to  our  hum^' 
Emerson  kmdle.  a  new  moral  light  within  u,.-    And  it  mighTbe' 

SS;  ^r*  *"'  ''"''^'  '"^'  ^"^"^  "'  ^'  ««^-  -"find  t 
S5.  ?M^?""'°"  '"  •""*•*=•    O^  "any  writers  it  has  been  said  "that 

onaicspeare.    he  did  easily  all  men's  utmost." 

nriJi!  ^^^^"^  ^^"ches  every  shore  of  human  experience.  He  appro- 

pnate.  evejy  element  and  product  of  nature.-all  the  tre«  and  aU  Jte 

^S  h"^     "H^JL^J^'Tr  *"  "''  ''^  acquaintance.    n1^ 
«eape.  hm..       He  touched  hfe  at  «>  many  point,  and  responded  » 

*Siiaktpeare.  Poet,  Dramatist  and  Man. 

Tile  Will  to  Believe."    William  James. 


II 


9  THE  MINISTRY  OP  THE  POET 

instinctively  to  every  movement  in  the  complex  web  of  its  throbbing 

w  brate '  •*»  ""^  *^**^'"^  humanity  was  alien  either  to  his  heart 

*„Sl"  ^1''*"'^"**'  \«=J*:"t»t.  a  philosopher,  a  musician,  a  painter,  an 
author  a  historian,  a  physiologist,  a  psychologist,  a  physidan,  a  lawyer 
a  mechanic,  a  theologian.-a//  in  one.  Yet  he  is  none  of  these.  By' 
education  and  by  profession  he  is  nothing  but  a  strolling  play-actor-  yet 
by  perception,  by  insight,  by  genius,  he  is  everything  human. 

Such  genius  is  not  a  transient.  Its  works  are  not  for  to-day  only, 
but  for  all  time  They  are  not  seen  in  their  glory  until  time  lends^r: 
spec^ive  to  the  view.    We  do  not  see  great  things  in  the  near  view     We 

Tn^  ''"t  f  ^"'^^  '°'}''  '^°""t«i"  peak  or  we  cannot  see  it    We  must 
stand  back  if  we  would  see  a  great  picture. 

The  universality  of  Shakspeare  demands  horizon.    "Great  authors 

5S!n       ShT  ^"^^^^,^"^  ---  -°-  o^  less  clearly  marks  o 
decline.    Shakspeare  is  three  centuries  young  and  students  are  now 

examining  his  verse  with  renewed  eagerness.   .   .    In  the  classification 

of  our  English  poets  he  must  stand  alone.    There  is  none  like  him  and 

the  more  we  study  him  the  more  supremely  he  rises  above  the  plane  that 

others  have  reached."  '    "  If  the  critics  mention  three  poets  o^  the  first 

W 'Jw'.   ^"'''  '"'  ^""^'^^^^'-'^^  ^-test's  these  is  thi 

Genius  is  not  scholarship  nor  learning;  it  does  not  discredit  these  but 

gladly  welcomes  them  and  employs  them.     But  it  rises  above  thm  - 

Z     n^r    ,^'^''-,-"- far  away  greater.    It  has  no  Sta- 

IhL  \'.'°"r°T'"''""''"°*"'™^8^'"a^'°"'«it«handmaid.    It  sees 

the  mystic  and  revels  in  the  supernatural ;  it  talks  with  ghosts  and  fS 

and  elves;  and  ndes  upon  the  air  over  all  space.    It  discovers :- 

"—more  things  in  heaven  and  earth 
Than  are  dream'd  of  in  our  philosophy." 

*of^^V"''^?:.!'  ^^"'"'-     ^*  ''  far-seeing,  prophetic ;  it  possesses  eves 

the  to  ,d  irb    T7'  '"'  '"'""^^^ ''  •*  ^-'  °^  '^^  -b-d"n«.  and 
tne  world  is  brighter  for  its  vision.    It  is  — 

"  The  celestial  fire  to  change  the  flint 
Into  transparent  crystal,  bright  and  clear." 

•^rTW'x? "''""'^t.  ^''''^'  °"  Shakspeare. 
•r,  f;  P    I  """*'"  Chicago  Record  Home  Study  Circle 
Great  Books  as  Life  Teachers.    Newell  Dwight  Hillis. 


THE  CENI,\,   OF  SHAKSPEARB 


of  .h.  fattened  spa™  oTi,  idt  vl^S^^  "''T  °'  ""  »««■  »  <»« 
speare  discovered  him  and"  ,  .l^  1°."''  T?  »"■""««>'•    Shalc- 

tion  of  Ignorant  officialUm    "  ^7«c*  •  "f^o^^y  Js  the  personifica- 

intoxicateThfs  infintSL^aT'brat  '^^  t^v^s  :h''''  '"''°'"'^'"  ^'^'^^ 
discovered  and  revealed  for  aU  L.  n^^  "f  ^'^  "°*  ""**^^'  ^^ 
in  every  village  and  rnay  b^  foundTn  th  S^7  "  "°'  ^^"^  =  ^^  ^^'^^^ 
cils,  great  cities   StaTe  ^n.-.^      T  *'^^°ffi<='«'  sanctums  of  local  coun- 

typ;s%.eren::;ai:rbrs^^^^^^^^^  S--  o^ 

Dickens)  ever,  so  plainlvnortr,v^T    ?     ^^"^  ^™'"'    ("°*  ^^^n 
of  human  beings'  SnTshakVri'"' '"' '"^^^^^ 
Scot,  Thackera?  and  I^LrdrewteT"  ^^s"^^^^  '^' 

they  were  local  or  provincial     ShTunl,    '  ^  °^  humanity,  but 

characters  are  true  toTtime  !nH  t-    '    ""*  *"'  ^''^  ^°^'d-    «'« 

with  age.   Hamlet^Lt^triL'orherr^'  'T"  *^^'*^  ^°- 
and  Shylock,  do  not  crmnble  S' u^™""  ^"^  J""^*' Antonio 

but  are  impekshable  p  ^^  stanJinf '?    ^  T"''^  °'  ^  ^^'P^^' 
living  models  for  eve^  schroTh:r„":try"  '^'  """  °^  *™^'  "^^ 

conn^tLVirShlSe"  l^^f^'  ^^  '^^^  '^^  ^^  ^^  '*  in   . 
common  than  peace  anTw^;  nr  T''  '^°"«=I^«"'  have  no  more  in 

is  not  an  imag^break"?  Tut'an  iS  H  ^^  *"°  ^^^^'^^  *'''"^^-  Genius 
ax  in  hand  tf  destroy  the  ^VSol^;^^^^^^^^  "^f '  '°^^  "°*  ^°  ^'^^ 
n^a^c«ngerssupp,ieLe.r;^«l;-r;f^^^^^^^^^^^ 

Of  the  scope  of  Shakspeare.  I  will  «v  n„i     .1.  .    ..     . 
of  every  man  since  bom.  in  the  donT,  i     ^,  "^^^'.^^  the  intellectual  measure 


to 


THB  MINISTRY  OF  THE  POET 


!  ii 


IconocUum  shatters  with  rude,  unsympathetic  hand  the  gods  whicH 
human  hearts  have  worshiped  and  leaves  those  souls  in  their  darkness 
and  despair. 

Genius  sees  that  "there  is  no  darkness  but  ignorance"  (Twelfth 
Night  4:2),  and  proceeds  to  open  the  windows,  that  light  may  pour 
in  from  heaven,— that  God  may  be  seen  by  mortal  eye. 

Iconoclasm  enters  the  humble  home  and  smashes  the  crude  vases  and 
weak  imitations  of  the  sculptor's  art. 

Genius  takes  chisel  in  hand  and  brings  the  angel  out  of  the  rock,  and 
welcomes  all  the  world  to  revel  in  its  beauty. 

Iconoclasm  bums  and  destroys  the  cheap  lithograph  and  gaudy 
chromo  which  relieve  the  monotony  of  cottage  waUs  and  gives  nothine 
in  its  place. 

Genius  transforms  the  shadows  and  multiplies  art,  that  real  pictures 
may  be  abundant  and  free  as  flowers  in  summer. 

Shakspeare  was  a  genius,  and  therefore  was  not  an  Iconoclast 

The  ancient  Greeks  worshiped  the  sun  as  the  greatest  of  all  gods. 
The  modem  Greek  says  "  there  is  nothing  so  great  as  genius."  ^  Thus 
hero-worship  deifies  an  attribute;  it  glorifies  a  talent  -  physical  or 
intellectual -and  he  who  attains  the  highest  point  of  that  talent  is  its 
god.  To  multitudes  ot  men  there  are  no  heroes  but  warriors  of  the 
battlefield  or,  perhaps,  the  prize-ring.  The  mighty  products  of  Angelo's 
brain,  or  Rembrandt's  soul,  or  Mozart's  fire  stir  not  their  hearts 

But  genius,-like  the  sun,-sheds  its  radiant  light  upon  all  men 
without  bargain  and  never  waits  for  recognition.  It  gives  of  its 
affluence  without  price  and  is  surprised  at  its  own  greatness 
thiU'/  '^t!"*^  °'  genius  that  it  is  not  limited  by  the  personality  of 
sn^^cT  •,•  "'t'  !'i°7,'^™'  '«''^«  through  him,  sees  beyond  him, 
speaks  by  him.  In  his  loftiest  attainments  the  man  of  genius  is  often 
unconscious  of  his  greatness.  It  is  not  necessary  that  the  sun  should 
De  conscious  of  its  own  infinite  resources  and  gifts. 

•  Robt  IngersoU's  lecture  on  Shakspeare. 


II 


A  GREATER  THAN  GENIUS 


There  is  a  greater  than  genius  and  that  greater  is  — character 
Emerson  says:_"The  purest  literary  taL  appears    at  o«  time 

«  iS  "'  ""T'  *'"*^  Ar"'  '"*  '''"''^''^  »  °f  aSr  and  rdimTn! 
ishable  greatness  .  Character  repudiates  intellect,  yet  exdteshTd 
character  passes  into  thought,  is  published  so.  and  then  Tsash;re^ 

^^  ^fore  new  flashes  of  moral  worth.    Character  is  nature  in  ktg^et 

./''"l^"'"'  "^^  '^"*  ^^^°'^^  *«  ^'"l  and  i'  -netimes  reflected 

lack,  dh  »d  bCt^d Z'at^  ;^   *  '°"  °'  '^  '"•»'  '»'■''•  '"'  " 

liar  true  or  a  moral  l^cTean  ^  '""  °^  "*"  *^""°^  "'^'^^  » 

II 


/ 


1 


M  THE  MINISTRY  OF  THB  POET 

These  two.- Genius  and  Character.- are  not  in  conflict;  they  are 
not  at  war  the  one  with  the  other;  they  are  each  of  his  own  kingdom.- 
genms  of  mtellect.-  character  of  the  heart.  A  great  genius  may  be  _ 
as  Shakspeare  was  -  impersonal.  He  sends  forth  his  radiant  light 
unconsciously.  He  it  is  who  "  builded  better  than  he  knew."  Bui  a 
great  character  is  never  impersonal. 

It  is  cjaimed  that  Shakspeare's  works  are  the  most  artistically  beauti- 
ful  of  all  the  hterary  world  and  that  it  ;s  the  measure  of  theirTeat 
value.  But  of  yet  greater  value  is  a  living  character.  Bv  as  much  as  a 
hand  with  a  soul  behind  it  is  greater  than  z  marble  hand.'so  is  character 
grea  er  than  genius.  Of  course  genius  may  be  associated  with  per- 
sonality, but  the  distinction  is.  that  genius  may  be  impersonal,  character 
cannot  be  Wherever  greatness  of  character  is,  there  is  great  per- 
sonality. In  such  there  is  eminent  consciousness  and  there  is  also 
living,  vital  touch  of  soul  with  soul. 

"A  divine  person  is  the  prophecy  of  the  mind !  A  friend  is  the  hope 
of  the  heart  Our  beatitude  waits  for  the  fulfillment  of  these  two  in 
T'  \::u  ^^"^^^^  '"^"y  ^^at  can  discern  Genius  on  his  starry  track, 
though  the  mob  IS  incapable;  but  when  that  love  which  is  all-sufferine 
all-abstain.ng,  all-aspiring,  which  has  vowed  to  itself,  that  it  will  be  a 
wretch  and  also  a  fool  in  this  worid,  sooner  than  soil  its  white  hands  by 
any  compliances,  comes  into  our  streets  and  houses.- only  the  pure  and 

t?o3?lw.o«.^"''  "'  *''  ""^  "'"''''"^"*  *'^^  ""  P^^  '''  '•« 

There  have  been  many  men  of  great  sacrificing  love  who  we;e  true 
to  some  one  or  more  of  the  lines  of  this  portrait ;  but  if  we  would  know 
•  .u"f  "l^  ,*  °^^  ^'^^"^  embodiment,  we  must  turn  to  that  one  who 
IS  the  fulfillment  of  "  the  prophecy  of  the  mind  "  and  « the  hope  of  the 
heart,  he  who  said  of  himself  "a  greater  than  Solomon  is  here,"  he 
who  constantly  asserted  himself  by  the  most  positive  utterances  of 
egoism,  he  who  m  word  and  in  action  is  "  self-suflicingness."  "  the 

person  who  is  riches  "  of  whom,  as  Emerson  says:  '1  cannot  ihink  as 
alone  or  poor,  or  exiled,  or  unhappy,  or  client,  but  a  perpetual  patron 
benefactor  and  beat'«ed  man."  P«iiron. 

Such  is  he  who  makes  no  claim  to  genius  and  does  not  appeal  to  us  bv 

It,  but  always  declares  himself  a  supreme  personality.    "lam  the  wav 

and  he  truth  and  the  life."   During  all  his  active  ministry  and  especial  y 

he  atter  period  of  ,t.  Christ  always  proceeded  upon  th/most  lofty  and 

supreme  assumption  of  his  own  personal  character. 


A  GREATER  THAN  GENIUS  ,3 

as  wltv^'^n^'J*'"''  V'r^''  ~"^°"'  "'^  P*^«>"*'.  -"d  that. 

,?^^t     ???        Character  is  essentially  and  intensely  personal  eenius 
w  not     History  fum.s:,es  abundant  illustration  of  this.    Moses  S 

desert,  no   by  force  of  intellect  but  by  character.  ^ 

to  himself  asThe  veTso-ce  anS" nte^  oi'ZT'\  "T  *°  "'"  '"^^ 

promoted  scienc  but  was  unable  to  offer  a  redemptive  scheme^S 
Sll^n?-  """*'  °'  ™"-    Socra'"  <1W  the  death  of  a 

Christ     '"'°°""*    ^""' "»«"»  all  whether  or  no  Jesus  be  The 

H^Se&SS—^??-"^ 
tion  and  sacrifice.*  "*^  *"  ''"  ^'^'  °^  ''*'~''  »°d  depriva- 

o.)^t;^^J- ^^::  -  -^^Us^  tHe  H.  an.  ... 

stand  up  to  do  him  honor  rbut^Jesur^fZa"  T"'  '^''  '«""  *«  »''0"W  all 
.11  fall  down  and  kiss  the  kem  of  Wsi^'         **"  '°  "-■*""*  '"'  *^  '''^"W 


H 


THE  MINISTRY  OP  THE  POET 


The  world  needs  Christ,  not  simply  for  the  gospels  that  record  his  life 
and  teachings,  but  for  Himself.  The  gospels  that  tell  of  him  are  of 
value  beyond  price,  but  what  we  need  most  of  Jesus.—is  Jesus. 

And  that  is  true  of  every  Saviour  of  men  or  nations.  When  a  nati<» 
is  in  distress,  or  a  people  oppressed,  it  is  the  personal  enthusiasm,  tht 
passion,  the  power,  the  leadership  of  a  Statesman,  a  General,  a  Tribune 
that  is  needed;— a  Moses,  Washington,  Garibaldi,  Lincoln,  Grant  or  a 
Gladstone. 

The  world  needs  its  Saviours,  not  for  what  they  can  say,  but  for  what 
they  are  and  do.  When  a  heart  is  in  distress  or  is  held  captive  by  some 
demon  of  sin  it  is  not  the  philosophy  or  science  of  a  scheme  that  can  save 
but— a  SAVIOUR. 

He,  therefore,  who  reveals  a  perfect  personality  and  sustains  it,  is  the 

ONE  whom  the  world  needs  for  its  moral  hunger  and  heart  sorrows, 

the  supreme  /  AM  who  never  fails  to  declare  himself  the  essential  per- 
sonal Life  of  the  Kingdom  of  heaven. 

But  such  character  knows  no  self.  It  is  "  all-suffering,  all-abstaining, 
all-aspiring."  Christ  never  once  asserted  himself  for  his  own  glory. 
In  every  self-announcement  He  proclaimed  the  advantage  of  others  — 
not  of  himself.  There  is  no  record  of  his  having  once  exercised  his 
power  or  authority  in  which  we  can,  by  the  most  searching  inquiry, 
discover  a  selfish  purpose,  or  a  means  to  promote  his  interests  in  society. 
We  know  of  no  miracle  performed  by  him  to  contribute  to  his  own  com- 
fort, or  to  relieve  his  own  needs  in  poverty,  hunger,  or  weariness  of 
body.  His  great  grand  infinite  /  AM'S  were  every  one  of  them  benevo- 
lent and  gracious  towards  others.  He  never  said,  "I  am  divine,  there- 
fore all  men  must  concede  to  me."  But  he  said  "  I  am  the  Way  "  there- 
fore all  men  should  "  Come  unto  Me."  All  his  invitations  and  announce- 
ments had  the  needs  and  sorrows  of  men  in  view:  "  Come,"  "  weary," 
"  burdened,"  "  heavy  laden,"  "  I  am  the  Door,"  "  the  good  Shepherd/' 
"the  Vine,"  "the  Way,"  "the  Truth,"  "the  Life;"  I  tell  you  this 
because  "  no  man  cometh  unto  the  Father  but  by  Me."  Blessed,  glorious 
assumption  of  Jesus  Christ !  the  very  essence  of  humility  for  it  seeks  not 
itself  but  others. 

Men  are  rarely,  if  ever  self-sacrificial  in  their  work  from  first  to  last 
and  all  through.  Paul  became  so!  the  Christian  martyrs  became  so! 
But  from  the  beginning  to  the  end  Christ's  life  was  wholly  and  entirely 
self-sacrificing  and  other-seeking.  He  moved,  every  hour  of  his  life, 
towards  the  cross,  and  when  he  entered  upon  the  active  ministry  for 
which  he  had  prepared  himself  he  bore  the  cross  without  cessation.    "  I 


A  GREATER  THAN  GENIUS  15 

ky  down  my  Ufe  for  my  sheep,"  he  uid  and  this  he  did,  in  living  as  in 
dymg,  never  once  faltering  or  excusing  himself  from  the  hardest  task, 
the  darkest  Gethsemane,  or  the  most  self-forgetting  labors. 

Men  who  have  not  understood  this  have  wondered  at  his  assumptions 
and  self-assertions;  and  yet  the  most  severe  and  the  most  cynical  of  all 
cntics  have  never  witnessed  against  him  a  single  act  of  self-seeking  or 
»df-interest.  His  self-giving  is  the  most  marvelous  thing  known  to 
men.  Never  did  he  consult  his  own  ease  or  necessities  at  the  expense 
of  human  suffering;  never  did  he  say  to  the  needy  or  the  distressed; 
'  Wait  until  I  rest  —  come  again  to-morrow !" 

How  vastly  greater  is  such  giving  than  is  that,  even  of  genius.  It 
IS  the  very  gift  of  love  and  that  is  "  the  greatest  thing  in  the  world  " 
Genius  gives  without  stint  or  measure,  but  it  brings  no  touch  of  love  to 
the  human  heart  It  cannot  give  rest  or  peace  to  its  own  most  favored 
wns  and  daughters.  The  loftiest  genius  has  ever  needed  a  personal 
Saviour.  Not  a  few  of  the  most  transcendent  human  intellects  have 
dwelt  m  souls  who  have  fallen  "  weary  and  heavy  laden  "—  living  and 
dying  — moral  wrecks  and  spiritual  bankrupts. 

Poor  Chattertonl  — prodigy  of  youthful  genius,  the  wondrous  boy- 
poet  of  more  than  a  century  ago  committed  suicide  at  the  age  of  eight- 
een; broken-hearted,  he  shut  out  the  light  of  one  of  the  brightest  stars 
of  gemus  that  ever  God  gave  to  the  race  of  men.  He  had  found  no 
heart-rest,  he  knew  no  infinite  love,  and  hope  perished  within  him.  If 
ever  a  human  spirit  needed  a  personal  saviour  it  was  young  Chatterton 
of  whom  Wordsworth  wrote:-"The  marvelous  boy,  the  sleepless  soul 
that  perished  in  his  pride." 

Perhaps  the  most  fertile,  and  certainly  one  of  the  richest  of  American 
p<^s  was  Edgar  Allan  Poe.  But  the  story  of  the  moral  wreck  of  this 
gifted  souns  painfully  notorious.    Surely  Poe  needed  a  saviour  other 

Burns,  the  idol  of  Scottish  hearts,  the  pride  of  the  glens  and  groves  of 
Ayrshire,  author  of  the  immortal  "  Cotter's  Saturday  Night,"  the  bard 
of  whom  his  biographers  wrote,  "he  perished  at  thirty-seven,  he  can 
hardly  be  said  to  have  died,"  was  another  example  of  the  need  of  men 
Of  pnius,  as  of  other  men,  for  a  personal  saviour. 

AH  the  genius  of  the  inimitable  dramatic  orator  was  m  John  B 
Gough  when  he  drifted  down  the  moral  plane  until  he  fell  into  the  very 
gutter  of  human  society,  a  mere  saloon  clown. 

But  Gough  was  transformed  by  a  power  greater  than  genius. 
Personal  kindness,  human  sympathy,  love  incarnate,  touched  his  heart 


>«  THE  MIIflSTRY  OP  THE  POET 

and  -behold  I  the  dead  was  awakened,  the  resurrected  man  came  forth. 

And  when  h.s  star  of  genius  was  set  in  a  moral  firmament.  Z!red  by 
ZaZ  .''V""iP°r*«J.  "•"•«'»  by  the  story  of  his  own\^Ci<^^ 
And  that  IS  It.    Gemus  is  wealth,  a  mine  of  great  riches  a  conster 

t.on  of  hght  and  beauty  and  power.     But  it  need!  love. The '^taU^^^ 

pr^h^et"        *'  '"""^*  '*•  '°  ^''*  '*•  ^°  '"^P'"  ■^'  -'^  ^°  ^-^^^' 

♦«?'!i'  *''^'"«'™*"°n'  the  vital  personal  energy  to  redeem  the  world 
to  d,r«:t  gen,us.  to  qualify  teachers,  to  ennoble  life,  to  purify  s^rty 

.ng  the  world  mto  touch  with  the  world  and  with  God.  mak  ng  the 
senhment  of  universal  peace  and  brotherhood  a  fact,  converting  aHmln! 
kmd  mto  one  family.,o«.  .„  Cf,rist-one  in  Lo^.'-one  Tly^p^H^ 
Herein  is  true  greatness.  Greatness  that  never  falters,  that  "  will  be 
a  wretch  and  also  a  fool  in  this  world  sooner  than  soil  is  white  hanS 

iiarSficr  -*•'"  ^^" ''-''  *°  ^  ^^"'"'  --'^  -  ^^ 

What,  if  it  were  possible,  that  this  infinitude  of  the  personal  Christ 
could  cease?  Shakspeare's  work  of  genius  itself  cou^dTu^^  sust^^ 
the  shock.  So  much  of  his  glory  does  he  borrow  from  the  insp  S 
of  that  life,  so  much  does  he  depend  for  abiding  fame  and  increasine 
appreciation  upon  Him  of  whom  he  wrote :  _  >ncreasing 

_  ^  "In  those  holy  fields 

Over  whose  acres  walked  those  blessed  feet 
Which,  fourteen  hundred  years  ago  were  nail'd 
For  our  advantage  on  the  bitter  cross." 


ill 


BOOK  SECOND 


Shakspeare's  Biblical  Translations 


/.    GOD  IN  SHAKSPEARB 
n.    BIBLE  CHARACTERS 

///.    SCRIPTURE  FACTS,  INCIDENTS 
PEACES.  ETC. 

IV.    SHAKSPEARE  AN  INTERPRETER 
OF  BIBLE  WORDS 

V.    SCRIPTURE  AND  SHAKSPEARE 
PARALLELS 


IM 


GOD  IN  SHAKSPBARB 


or  «cif.  ««»„„.  Elrr ".i;roi  Ectn:'^;i!^^'"^ 

or  he  must  have  closed  his  eve*-w^  La  TV-.    ^  treacherou. 
play.."'         "^  "«'"'  (God)  "lore  «p«n.lly  ,„  ,j,  ^^^ 

.^^^K5,rryt°i-tjir^-^- 

•oIScI' r!'  -  ShakM.earia„a.  November.  1889. 
'-tartce's  Coflcordance  to  Shakspeare. 

19 


*»  BIBUCAL  TRANSLATIONS 

Richard  III.  contain*  the  word  God,'  99  timet ; 

Much  Ado  about  Nothing,  59; 

II  Henry  VI.,  58;  I  Henry  VI..  ly.  Ill  Henry  VI.,  30: 

Henry  v.,  58: 1  Henry  IV.,  36;  II  Henry  IV.,  a6; 
Richard  II..  44 ;  Henry  VIII.,  3a ;  H«mlet,  27 ; 
Romeo  and  Juliet,  31 ;  Love'i  Labor  Lo«t,  a6: 
Aa  You  Like  It,  ao;  All's  Well  that  Ends  Well.  19; 
Merchant  of  Venice,  18;  Taming  of  Shrew,  18  • 
Twelfth  Night,  14 ;  Macbeth,  14 ;  Othello.  5 ; 
Comedy  of  Enwi,*  13;  Titus  Andronicus.*  6; 
Kmg  John.  6 ;  Pericles.  4 ;  Coriolanus.  2 ; 
Midsummer  Night's  Dream.  5;  Merry  Wives,  a: 
Troilus  and  Cressida,  i ;  King  Lear,  1 ; 
Antony  and  Cleopatra,  i. 

The  following  terms  of  reverence,  or  exclamations,  having  reference 
to  thr  Supreme  Bemg  are  found  in  the  texts  of  the  pla-'s  given :  _ 
God  Above.    Macb.  4 : 3. 

God  Almighty.    Hen.  V.  a :  4 ;  4 : 1 ;  H  Hen.  VI.  a :  i. 
God  before  —  in  the  sense  of  God  leading.    Hen.  V  3  •  6. 
God  befriend  us.    I  Hen.  IV.  5 :  i. 
God  be  praised.    Hen.  V.  4:7.     II  Hen  VI  a-  t 
God  Himself.    II  Hen.  VI.  4 :  a. 
God  help.    IHen.  IV.  a:4. 
God  defend  the  right.    II  Hen.  VI.  2: 3. 
God  forgive  (thee).    I  Hen.  IV.  i :  2. 

Godforgive(me)  (them).    IHen  IV.  1:3.    I  Hen.  IV.  3:2.    H 
Hen.  VI.  3:3.  o  •  *.    ix 

God  forbid.    Much  Ado  i :  i.    Men  of  Ven.  2  •  a 
5:1.    Rich.  11.  a:  I.  4: 1.    I  Hen.  IV.  5: a.    Hen 


Tarn.  Shrew  4 :  a, 
V.  i:a.  HHen. 
5:4.    Hen.  Vin. 


VL3:a,4:4.    HI  Hen.  VL  i:  a;  2:  i;''3:2:  4- 1 
2 : 2.    Rom.  and  Jul.  i :  3.    Titus  And.  4:3.' 

God  keep  me  so.     Hen.  V.  4 : 7. 
^  God  knows.    IHen.  IV.  a:  I.    IHen.  VL  5:1.    H  Hen.  VL  i:a, 

•  J!l7h,«'![f"'  f.l"'"  ^i^:*'  ""  """^  '■"  ^'^^'^  I"  ninety-seven  times. 
„„»    h  "■"•:  P  *y»  ^\^°'^  "  ""d  much  more  frequently  in  the  plural  and  with- 


i'      I 


GOD  IN  SHAKSPBARB 


V.4:8.    Ill  Hen.  VI. 


Godofbtttlw.    Hen.  V.  4: 1. 

God't  majesty.    Rich.  11.4:1. 

God  our  hope.    II  Hen.  VI.  a:  3.  4*^ 

God«ve.    IHen.IV.  i:a. 

Godipeed.    IHen.  VI.  3:4. 

God'i  Will.  God's  Petce.    Hen.  V.  41 

^I'^i^^V'-''    «•-''»•    Hen. 
5:0.    II  Hen.  VI.  a:  I,  3:3. 

Great  God  of  Heaven.    Rich.  III.  5  •  4 

God  Omnipotent.    Rich.  II.  3 : 3. 

If  God  please.    Hen.  V.  4:3. 

Maker  -"  praise  my  Maker, "    Hen.  VIII.  3 :  a  s  •  <*. 
All  Seer.    Rich.  III.  5 : 1.  J*.  5-4. 

Eternal  God.    II  Hen.  VI.  1 : 4. 
The  Everlasting.    Ham.  i :  2. 
The  most  just  God.    Peri.  5-1 

Ettn..!  Movtr  of  the  HoivMt    II  Ha,.  VI.  3- , 
J.ngo£K.„,,„,dUMo.Ho.u.    IH™.VI.i^;    Rich.111.,:, 

King's  King.    Rich.  III.  4 : 4. 

King  of  Heaven.    Rich.  II.  3:3.    Rich.  III.  ,.• , 

He  that  wears  the  crown  immortally.    II  Hen  IV  ^  • . 

Him  that  all  things  knows.    All's  Well  2  ■  i  '*' 

H.m  that  made  me.    IHen.VI.2:4.    HlHen.  VI  a-a 

He  of  greatest  works.    All's  Well  aTi        ""'•^^•«-*- 

Hjs  minister.    Rich.  II  1  •  2 

a:^;'„i?;3^^''    ^^^^•"•3-'Hen.V4:x.    nHen.VI.,:,; 

O  Thou.    Rich.  III.  5:3.    nHen.VI.3:2. 
Judge.    Hen.  VIII.  3:1.  ** 

Providence.    Tempest  1 : 2. 

the  meaning  of  good  or  high  inilJiSZ  '^'  "**"  *^'""  *'«'' 


«  BIBLICAL  TRANSLATIONS 

Shakipeare  makes  reverent  use  of  the  word  "Almighty  "  six  times 
and  the  word  "Christ"  is,  nine  times,  fitly  and  reverently  quoted. 
The  Latin  (Jesu)  for  Jesus  is  not  always  fitly  spoken:  On  fourteen 
occasions  it  is  used  as  an  exclamation  and  hardly  with  reverence. 
"  Redeemer  "  is  twice  used  in  Rich.  III.  The  "  Holy  Ghost "  is  never 
mentioned  in  Shakspeare,  a  fact  attributed  to  the  Poet's  sense  of  rever- 
ence for  that  name,  and  the  word  "Saviour"  is  mentioned  only  once, 
viz. :  in  Ham.  i  :i. 


II 


II  Hen.  VI.  4: 2. 
:  I  (twice).    BLich. 


BIBLE  CHARACTERS 

Adam.    I  Hen.  IV.  2 : 4  and  3 : 3.    Hen.  V.  i :  i. 
Ham.  5:1.    Love's  Labor  4:2;  5:2.    Much  Ado  2: 
II.  3: 4.    As  You  Like  It  2: 1.    Com.  of  Err.  4: 3. 

Eve.    Love's  Labor  1:1:5:2.    Rich.  III.  3 : 4.    Twelfth  Night  i :  5. 
Two  Gent.  3:1.     Merry  Wives  4:2.     Sonnet  93. 
Abel.    Rich.  II.  1:1.    I  Hen.  VI.  i :  3. 

Cain.    IHen.  VLi:3.    II  Hen.  IV.  i :  i.    Ham.5:i;3:3.    Rich. 
II.  5:6.    K.  John  3 : 4.    Love's  Labor  4 : 2. 
Noah.    Com.  of  Err.  3 : 2.    Twelfth  Night  3 : 2. 
Japheth.    II  Hen.  IV.  2 : 2. 

Abraham.    Mer.  of  Ven.  1:2:1:3.    Rich.  II.  4 :  i.    Rich.  IIL  4: 3. 
Hagar.    Mer.  of  Ven.  2 : 5. 
Jacob.    Mer.  of  Ven.  i :  2  (five  times)  ;  2 : 5. 
Laban.    Mer.  of  Ven.  i :  3  (twice). 
Pharaoh.    IHen.  IV.  2:4. 
Pharaoh's  Soldiers.     Much  Ado  3 : 3. 
Joshua.    Love's  Labor  5:1. 
Deborah.    I  Hen.  VL  1:2. 
Jephthah  and  his  daughter.    Ham.  2 :  2  (twice) 
Samson.    I  Hen.  VI.  1:2. 
(five  times). 
Goliath.    Merry  Wives  5:1. 
Jezebel.    Twelfth  Night  2 :  5. 
Job  and  Job's  wife.     Merry  Wives  5 :  5 
Solomon.    Love's  Labor  i :  2  and  4 :  3. 
Sheba  (Saba).     Hen.  VIIL5:4. 
Daniel.     Mer.  of  Ven.  4:  i  (three  times). 
Nebuchadnezzar.    All's  Well  4 :  5. 
Jesus.     Rich.  III.  5 :  3.     Ill  Hen.  VI.  5 : 6. 

Christ  (Master).    Rich.  IL  4:1,    Rich.  IIL  1:4.     IIHen.  VLs'i 
IHen.  IV.  1:1:3:2.    Hen.  V.  4:1.    IHen.  VL  1:2. 

Mary  ( Mother  of  Jesus) .    Rich.  II.  2 :  i.    Hen.  VIII.  5 :  i 
VI.  1:2. 


Hen,  vm.  5:3. 
I  Hen.  VI.  1 : 2. 


m.  Hen.  VL5:i. 
Love's  Labor  1:2 


IIHen.  IV.  1:2. 


IHen. 


M  BIBUCAL,  TRANSLATIONS 

Herod.    Hen.  V.  3:3.    Ham.  3:3.    Merry  Wives  2 :  i.    Ant  mhI 
aeo.  1:2;  3:3;  4:6. 

The  Nazarite.    Mer.  of  Ven.  i :  3. 

Twelve  Apostles.    Rich.  H.  4 :  i. 

Judas.    Rich.  H.  3 : 2 ;  4 :  i.    HI  Hen.  VI.  5 : 7.    Love's  Labor  5  •  a 
.(seven  times).    As  Yott  Like  It  3 : 4. 

Judas  Maccabeus.    Love's  Labor  5 :  i ;  5 : 2. 

Barrabas.    Mer.  of  Ven.  4:1. 

Lazarus.    I  Hen.  IV.  4 : 2. 

Dives.    I  Hen.  IV.  3 : 3. 

Pilate.    Rich.  IL  4:  i.    Rich.  IIL  1:4. 

Prodigal »  Son.    I  Hen.  IV.  4 : 2.    Merry  Wives  4:5;  Winter's  Tale 
4:2.    II  Hen.  IV.  2: 1. 

Peter  (St,  Peter).    Much  Ado  2:1.    Two  Gent.  2.x     Twelfth 
Night  3: 1.    Othello  4: 2. 

PauP  (Saint)  (Apostle).    Rich.  III.  i:2;i:3;3:4;5:3 

St.  Phillip's  daughters.    I  Hen.  VI.  1:2. 

A ,?*,^"„  ^°'"-  °f  Err.  4 : 3 ;  4 : 4.   I  Hen.  IV.  2 : 4.   Merry  Wives  5 :  5. 
All's  Well  5: 3.  ^  ^ 

The  Devil.*    Ham.  2 : 2 ;  3 :  i.    Mer.  of  Ven.  i :  3 ;  2 : 2.    Rich.  IIL 
1:2;  1:3. 

Belzebub.    Twelfth  Night  5 :  i.    Hen.  V.  4:7.    Macb.  2:3. 
Lucifer  is  once  mentioned  in  the  Bible  Isai.  XIV.  12  and  Shakspeare 
uses  the  word  with  a  similar  meaning  in  Hen.  VIII.  3 : 2.    Hen.  V.  4 : 7. 

'These  references  are  of  course  to  the  story  known  as  "The  Prodigal  Son." 
but  the  word  "prodigal "  is  not  found  in  the  Scriptures. 

Cathed^^*"'  ^  ^'^"^  "^"  "  *^'"''  *'"""  "*"*  '"  reference  lo  St  Paid'* 
•The  word  "devfl"  is  used  many  times  as  an  epithet  to  express  devilish  char- 
acter, or  u  slang  and  oaths.  t 


Ill 


SCRIPTURE  FACTS,  INCIDENTS,  PLACES,  ETC. 


3' 3-    As  You 


i:i. 


:2. 


2:5- 


Lights  Created.    Tempest  i :  2. 
Fall  of  Man.    Hen.  V.  2:  i  and  2:2.    I  Hen   IV 
Like  It  2: 1. 
Adam's  transgression.    Much  Ado  2:  i. 
Adam  a  gardener.    Ham.  5:1.    H  Hen!  VI.  4: 2. 
Eden.    Rich.  II.  2:1.  ^ 

Birth  of  Cain.    K.  John  3 14.    H  Hen.  IV.  1:1. 
Cam  as  a  murderer.    I  Hen.  VI.  1:3.    II  Hen  IV 
Abel  rnurder«!.    Ham.  3 : 3.    Rich.  IL  1:1.    i  Hen.  VI.  i :  3. 
The  Flood     As  You  Like  It.  5: 4.    Com.  of  Err.  3 : 2. 
Bosom  of  Abraham.    Rich.  II.  4:1.  ^ 

Egyptian  darkness.    Twelfth  Night  4 : 
The  le?n  kine.    I  Hen.  IV.  2:4. 
Firstborn  of  Egypt.    As  You  Like  It. 
Pharaoh's  Soldiers.    Much  Ado  3  •  3 

mIs'i:".''"""''"*"'"''-    H^'"-5=''-'lHen.VLi:3.    Meas.  for 

Law  of  Inheritance.    Hen.  V.  1 : 2. 
'  Jephthah's  sacrifice  of  his  daughter. 
'  Patience  of  Lot.    II  Hen.  IV.  i :  2. 

Nebuchadnezzar's  Fail.    All's  Well  4 : 5. 

The  hill  of  Bashaii.    Ant.  and  Cleo.  3 : 2. 

Herod's  slaughter  of  infants.    Hen.  V.  3 : 

Blind  man  healed.    II  Hen.  VI.  2:  i. 

Prodigal  Son.     (See  Bible  Characters.) 

Calf  killed  for  Prodigal's  feast.    Com.  of  Err. 

Devil's  entering  swine.     Mer.  ofVen  1-3 

Betrayal  of  Jesus.    Rich.  IL  4: 1.     (Seejudas.) 

Pilate  s  handwashing.    Rich.  II.  4 :  i.    Rich.  IIL  i :  4. 

Crucifixion  of  Christ.    I  Hen.  IV.  1:1. 


HI  Hen.  VI.  5: 1. 


•4:3- 


as 


*5  BIBLICAL  TRANSLATIONS 

Field  of  Golgotha.    Rich.  II.  4: 114: ,.    Macb.i:2. 
Sepulchre  of  Christ    Rich.  II.  a:  i.    I  Hen.  IV  j  •  i 
Jerusalem.    K.  John  a:  3.    I  Hen.  IV.  1:1.    nH«.'lV.4:4. 
wen.  VI.  5:5.  ^  ^ 

The  Holy  Land.    Rich.  11.5:6.    H  Hen.  IV.  4:4. 
Miracles.    Hen.  V.  i :  i. 


m 


IV 


SHAKSPEARE  AS  AN  INTERPRETER  OF  BIBLE  WORDS 

The  dramatic  and  poetic  works  of  Shakspeare  furnish  one  of  the  best 
aids  to  a  correct  interpretation  of  the  meaning  of  many  words  and 
phrases  m  the  English  Bible  which  are  difficult,  or  obscure,  when  viewed 
in  the  light  of  modem  standards  of  the  English  language. 

The  writings  of  Shakspeare  extended  over  a  period  of  twenty-four 
years  ranging  from  a.  d.  1587  to  161 1.  The  King  James  translation  of 
the  Bible  was  begun  in  1604  and  completed  in  161 1. 

Thus  our  common  version  of  the  Bible  was  translated  during  the 

latter  part  of  the  period  in  which  the  great  dramatist  wrote.    The  trans- 

ators  would  naturally  use  English  words  in  the  sense  employed  by  the 

l^dmg  writers  of  the  age.  and  of  all  writers,  Shakspeare  was  the  most 

likely  to  employ  the  colloquial  tongue  of  his  time  and  country » 

Our  English  Bible,  therefore,  may  be  used  as  a  student's  guide  to 
certam  forms  of  expression  found  in  Shakspeare  and  likewise  Shak- 
BiWe"  ""'^      P^fit^Wy  studied  for  interpretation  of  many  words  in  the 

It  is  claimed  for  the  King  James  version  of  the  Bible  that  one  reason 
Why  It  gives  such  general  satisfaction  to  the  English  ear  is  that  it 
Moll  ton^.^  °^  '*'  °*"  """^'^  ''  ~"^»*'°"^'y  received  as  a 

This  remark  may  be  applied  to  many  of  the  finer  passages  of  Shak- 
speare s  dramas;  indeed  the  Poet  is  never  so  grand  as  when  he 

Z'^r.  "^u  !''''  °'  ^•"'^'  ^'^y  ^"^  '*  »  *  ™*«er  of  common 
observation  that  many  passages  of  his  works  are  often  quotS  by 
mistake,  as  from  the  Bible  itself.*  '     ^ 

The  Commissioners  appointed  by  King  James  to  translate  the  Bible 
also  acquired  the  same  lofty  Biblical  style  of  expression  -  the  same  us^ 

Iish''tl!LT»r!!^rlL!!!i'  'r?"''"*""  °f  *«  Bible,  Shakspeare  wrote  the  best  EnK- 
«  «  wou^.7"""k-  •    •    ^"*-8fo' the  general  public,  he  used  such 

ororo^h";s."-SrdGrx: '"  --^^^^^^'^^  —  "^^ 

"Ency.  Brit,  Vol.  8,  p.  389. 

•See  quotation  from  "Shakspeare  and  the  Bible"  in  preface. 


,1 

ill 


'm 


I 


I 


aS 


BIBLICAL  TRANSLATIONS 


i 


of  language  which  marks  it  as  distinct  from  the  ordinary  forms  of 
literary  English.  The  preface  published  in  all  editions  of  our  common 
version  was  the  work  of  that  large  and  learned  body  of  divines.  As 
we  read  through  this  most  interesting  and  instructive  document  we 
might  easily  imagine  it  the  utterance  of  one  of  Shakspeare's  loftiest 
characters. 

Illustrating  the  striking  similarity  in  the  use  of  common  words,  as 
found  in  the  Bible,  and  in  the  works  of  Shakspeare,  the  following 
selected  passages  will  be  of  service.  The  words  are  given  from  the 
text  of  the  Bible  and  also  of  Shakspeare:  — 

ABJECTS  in  the  sense  of  vUe,  mean  persons. 

Yea,  the  objects  gather  themselves  against  me.    Ps.  xxxv.  ig. 
We  are  the  Queen's  objects  and  must  obey.    Rich.  III.  i:r. 
Me,  as  his  abject  object    Hen.  VUI.  i:i. 

MXXyVf— approve. 

That  ye  allow  the  deeds  of  your  fathers.    Luke  xi.  48. 

That  which  I  do  I  allow  not.    Rom.  vii.  15. 

As  we  were  allowed  of  God.    /  Thess.  it.  4. 

Generally  allowed  for  your  many  warlike  preparations    (qualities).    Merry 

Wives  2:i. 
I  like  them  all  to  do  allow  them  well.    //  Hen.  IV.  4:  s. 
Praise  us  as  we  are  tested.    Allow  us  as  we  prove.    Troi.  and  Cres.  3: 3. 

BEWRAY  — Jiff ;ow,  betray. 

Thy  speech  bewrayeth  thee.    Matt.  xxvi.  73. 

—  he  •  ♦  bewrayeth  it  not.    Prov.  xxix.  24. 

—  which  bewrayeth  itself    Prov.  xxvii.  16. 

And  state  of  our  bodies  would  bewray  what  life 

We  have  led  since  thy  exile.    Corio.  V.  3. 
The  Queen  whose  looks  bewray  her  anger.    ///  Hen.  VI.  /;  /. 
And  not  bewray  thy  treason  with  a  blush.    ///  Hen.  VI.  3: 3. 

BRAVERY  — vOTi/y.  pride  of  dress. 

The  bravery  of  their  tinkling  ornaments.  Isai.  Hi.  18. 
His  bravery  is  not  on  my  cost.  As  You  Uke  It  i:  j. 
Scarfs  and  fans  and  double  change  of  bravery.    Tarn.  Shrew.  4: 3. 

BESTOW  —  put  away,  or  lay  up. 

There  will  I  bes'ow  all  my  fruits  and  my  goods.    Luke  xii.  18. 
We  will  bestow  you  in  some  better  place.    /  Hen.  VI.  3:  2. 
I  will  bestow  you  where  you  will  have  time 
To  speak  your  bosom  freely.    0th.  3: 

CAREFUL  — o««oiM. 

Be  careful  for  nothing.    Phil.  iv.  6. 

O  full  tif  careful  business  are  his  looks.    Rich.  II.  2: 2. 


BIBLE  WORDS  INTERPRETED 


15. 


I  Cor.  xiii.  13. 

Love's  Labor  4: 3. 


CARRIAGE  —  baggage  or  luggage. 

We  took  up  our  carriages  and  went  to  Jerusalem.    Acts  xxi 

Atany  carnages  he  hath  despatched.    King  John  5: 7. 
CASTAWAY -/w/.  cast-off. 

Ust  •  •  I  myself  should  become  a  castaway.    I  Cor.  ix  r' 

Whv  do  you  look  on  u.  and  shake  your  head.  «,d  call  u,  orphan^ 
wretches,  castaways.    Rich.  lU.  i: ».  >f      t 

CLEAN  —  completely,  entirely. 
Is  his  mercy  clean  gone  forever.    Ps.  Ivii.  8 
Roaming  clean  through  the  bounds  of  Asia.    Com.  of  Err  i- 1 
Uean  from  the  purpose  of  the  things  themselves.    Jul.  Caes.'i-j. 

CHARITY  — W*. 

Now  abideth  faith,  hope,  charity. 
For  charity  itself  fulfils  the  law 
And  who  can  sever  love  from  charity. 

CHOICE -w/*rt.  excelling. 

A  choice  young  man  and  a  goodly.    /  Sam.  ix  2 

The  choxce  and  master  spirits  of  this  age.    Jul.  Caes.  3:  i. 

COtiVEmEliT- suitable,  seemly 

Feed  me  with  food  convenient  for  me.    Prov.  xxx.  8 
To  do  those  thmgs  which  are  not  convenient.    Rom  i  a 
As  shall  conveniently  become  you  there.    Mer.  of  Ven'.i-g 
All  that  honor  that  good  convenience  claims.    All's  Welti:' 2. 
CUNmmi- skill  or  skillful. 

Let  my  right  hand  forget  her  fiini.,-,^.    Ps.  cxxxvii  s 
bend  me  a  man  cunning  to  work  in  gold.    //  Chron.  ii  7 
To  our  sports  my  better  cunning  faints.    Ant.  and  Cleo  2- 3 
To  cunmng  men  I  will  be  kind  and  lib.rrl.    Tarn.  Shrew.  ]'■  i 

OAMliA'TlON- condemnation,  judgment.    This  word  and  the  word  "damn- 

Ye  shaU  rSe'tSr  r'.*"*;  '"  ^'"'  ^'  ^'^'''^'^  '"^^   ^ 
I  e  snail  receive  the  greater  damnation.    Matt,  xxiii  ia. 

Author  of  the  servants'  damnation.    Hen.  V  4]  ' 
EAR— plough  or  till. 

He  will  set  them  to  ear  his  ground.    /  Sam.  viii.  12 
Let  them  go  to  ear  the  land.    Rich.  IL  32 
He  that  ears  my  land  spares  my  team.    AlVs  Well  i:  3. 
^Am  — glad,  or  gladly. 

He  would  /am  have  filled  his  belly.    Luke  xv.  16 
To  my  thmkmg  he  would  fain  have  had  it    Jul.  Caes.  i: ». 
FAVOR  —  countenance,  looks. 

Rachel  was  beautiful  and  well  favored.    Gen  xxix  r, 
I  know  your  favor  well,  *•  ^• 

TZtT^"  ^r^  '^■^^  "«  y°«  head.    Trvelf.  Night  ,•  <t 
A  shrew,  tU-favored  wife.    Tom.  Shrew  i:  2.  ^'  * 


i 


-; 

•    ,: 


J»  BIBUCAL  TRANSLATIONS 

GOOD-HAS  — htad  of  hotue. 
The  geod-mm  it  not  at  home.    Prov.  vti.  79. 
To  the  sood-ma»  of  the  house.    Mmrk  Jtiv.  14,  luh*  xmU  tt. 
This  ttory  ihaU  the  good-mam  tcKh  hti  mo.    Htn.  V.  4: 9. 

LEASING  — /yMf  or  dtctwing. 

Thou  Shalt  destroy  them  that  speak  leasing.    Ps.  v.  6. 

How  loiv  will  ye  seek  after  Utuing.    Ps.  w.  t. 

In  his  praise  have  almost  stamped  the  leasing.    Corio.  $:». 

tET— hinder. 

Only  he  who  now  tettelh  will  let. 
If  nothing  lets  to  make  us  happy. 


//.  Tkess.  H.  7. 
Twelf.  Night  5:  i. 


HAlV-CmtD  — female. 

But  if  she  bear  a  maid-child.    Lev.  xii.  5. 
She  brought  forth  a  maid-cWW.    Peri.  5: 3. 

MAS-CHIhD  — male. 

If  a  woman  have  bom  a  man-child.    Levi.  xii.  a. 
Hearing  he  was  a  man-child.    Corio.  1:3. 

PASSlOa—sufFeHng. 

He  showed  himself  alive  after  his  passion.    Acts  i.  }, 
You  shall  offend  him  and  extend  his  passion.    Macb.  3: 4. 

PROPER  — Ao»irf*om<r.  fair. 

Because  they  saw  he  was  a  proper  child.    Heh.  xi.  33. 

A  marvelous  proper  man.    Rich.  III.  i:  2. 

He  is  a  proper  man's  picture.    Mer.  of  Ven.  1: 3. 

QUARREL -foi«?. 

That  shall  avenge  the  quarrel  of  my  covenant.    Lev.  xxvi.  35. 
And  since  the  quarrel  will  bear  no  color.    Jul.  Caes.  3:  i. 

QUICK  — alive,  living. 

And  they  go  down  quick  into  the  pit.    Num.  xvi.  30. 

The  word  of  God  is  quick  and  powerful.    Heb.  w.  Z3. 

That  which  thou  sowest  is  not  quickened  except  it  die!    I  Cor  xv  i&. 

Who  shall  judge  the  quick  and  the  dead.    //  Tim.  iv.  z.         '      ' '^ 

Now  pile  your  dust  upon  the  quick  and  the  dead.    Ham.  5;  /. 

The  mercy  that  was  quick  in  us  but  late.    Hen.  V  3- 3 

Thou'rt  quick.    But  yet  III  bury  thee.    Tim.  of  Ath.  4:3. 

And  quicken  his  embraced  heaviness.    Mer.  of  Ven.  3:  %. 

SORT  — c/«i  of  people. 

Certain  lewd  fellows  of  the  baser  sort.    Acts  xvii.  3. 
Assemble  all  the  poor  men  of  your  sort.    Jul.  Caes.  i:  r. 

STRAIT  — narrow,  small. 

The  place  is  too  strait  for  us.    //  Kings  vi.  1. 

Enter  ye  in  at  the  strMt  gate  for  wide  is  the  gate.    Matt.  vii.  13. 


BIBLS  WORDS  JNTBRPRSTSD 

^tRAir-ConHHmtd: 

All  Hying  throogh  «  strait  lane— 

That  the  ttnitvut  wu  dunmed  with  dad  men.   Cn*b.  s.M. 

Honor  tnveli  m  a  strait  ao  narrow.    Trot,  and  Crts.  3: 3. 
TERROR  — fear,  fowtr. 

Rulen  are  not  a  ttrror  to  good  works,    Rom.  xiH.  3 

Knowing  therefore  the  terror  of  the  Lord.    //  Cor.  v.  it 

Lent  him  our  terror.    Mtas.  for  Meat,  i:  i. 

THOUGHT -«urwi«,  anxUty. 

Take  no  /A<«.gA,  for  your  life.    Matt.  vi.  ^5.    Luke  sii.  «. 

She  pind  in  thought.    Twelf.  Night,  j- 4 

Take  thought  and  die.    Jul.  Caes.  a:  1. 

I.  sicklied  o'er  with  the  pale  cast  of  thought.    Ham.  3:  t. 

Thought  and  affliction,  passion,  hell  itself.    Ham.  4:3. 

yTERY  — genuine,  true. 

Whether  thou  be  my  very  son  Esau.    Gen.  xxvii  n 
This  IS  the  very  Christ   John  vii.  36. 
This  gentleman,  my  very  friend.    Rom.  and  Jul  3-  r 
I  bid  my  t;*ry  friends  welcome.    Met.  of  Ven.  3:  j. 
WIT,  WIST.  WOT-  know,  perceive. 

To  viit  whether  the  Lord  had  made.    Gen.  xxiv  it 
He  wut  not  what  to  say.    Mark  ix.  6. 

H^w/  ye  not  that  I  must  be  about  my  Father's  business.   Luke  iL  40. 
Itvot  that  through  ignorance  ye  did  it    Acts  iU.  //  ^ 

We  English  warriors  wot  not  what  it  means.    I  Hen  VI  a' 9 
I  Kw/  your  grandam  had  a  worser  match.    Rich.  IH  ta' 
More  water  glideth  by  the  mill  "        ' 

Than  wots  the  miller  of.    Titus  And.  a:  t. 

WHAT— ,  ;,y. 

Wlu,t  need  we  any  further  witnesses.    Mark  xiv.  63. 
tvhat  need  we  any  spur.    Jul.  Caes.  t:  t. 


3* 


!| 


SCRIPTURB'AND  SHAKSPBARB  PARALLBUi 

Quotationt,  References,  Paraphntet.  tie. 

The  following  arrangement  of  passages  serves  to  show  the  Poet'i 
frequent  use  of  thought  and  language  as  found  in  the  sacred  vote. 
It  da;s  not  of  course,  follow  that  these  were  all  purposely  quoted  from 
the  Bjble.  but  .t  does  establish,  beyond  all  dispute.  t£t  the  mind  of  S^ 

He  SJ^'pIurelf  *°'°"^"^  '""'"^  *'^  ''''  '^°''^'^''  ""^  teachings 

So  frequently  does  he  borrow  figures  of  speech  from  the  Bible - 

adapting  them  to  incidents  or  characters  of  hiTplays-that  they  not 

n^t  i;"r:''l  th  f  ^"' "  '^^"^^^  ''^  '"°^^''  ^"*  '"^^y  *'-  '"^  "- 

new  ligu.  upon  the  Scripture  text. 

Moreover,  no  one  can  read  these  Bible  passages,  placed  as  they  are 
thTn;!;fth'  "''■  T?  °*'"'  '^^  ^''^  P°^''  withoutVrceiving  ime! 

Xltt  r^ht'^ur^  ^° '''  -'-'''-- '-  --^  ^^"-^^  ^- 

Some  of  these  parallelisms  are  very  striking;  as,  for  examole  the 
vanous  uses  which  are  made  in  the  respective  pla;s  o    surhis'toric 

Se^^^c^iSrsr  °'  ^"'"*' '' '''  "^^"^^ ''  j"^^  •'  -^  *^«  p^-^'-^ 

Among  the  parallels  are  some  Bible  texts  literally  quoted  but  the 
r'w  ^''''u^  '"r  "'  *'^""  ^'^^^  ^'^*«^'»  quotatiL.  They  Ire 
tllZloT'''  ""'"  '  """r  ^*''*^^--''  -d  then,  from  th" 
lessons  high  and  broad: -a  new  interpretation;  the  truth  with  a  new 
application  read  and  written,  into  the  life  and  experience  oT men  ani 
women  as  they  are  found  in  and  of  the  world. 

"  Referring  to  the  allusion  to  Matt,  s :  22  in  the  Merr»,»n»  «*  v    • 


SCRIPTURB  AND  SHAKSPBARB  PARALLBLS 


ii 


Some  of  these  passages  are  repeated  and  extended  under  the  title  of 
Scnpture  Themes  in  Shakspeare.  but  other*  of  them  are  riven  only 
under  this  order  of  arrangement. 


PARALLEL  PASSAGES 


Blesied  are  the  peacemaken. 

MattT.  y. 

_  yp*  one  of  them  (sparrows)  is  for- 
Sotten  before  God 

Luke  xii  6. 
Matt  X.  ig. 

Behold   the   fowls  of  the  air  and 
your  heavenly  Father  feedeth  them. 
Matt.  vi.  a6. 

Thy  word  is  a  himp  unto  my  feet 
and  a  light  unto  my  path. 

Ps.  cxix.  105. 

The  Lord  was  my  stay. 

foSss.^'**    "    "'^    "^    "«•    ""^ 

Ps.  xviiii.  2. 
Ps.  xxxi.  3. 

The  Lord's  anointed. 

Destroy  this  temple.    John  ii.  19. 
The  temple  of  this  body. 

John  ti.  ai. 

Forgive  and  ye  shall  be  forgiven. 
e       ,     ,,         .  Luke  vL  37. 

See  also  Matt  vi.  12,  14, 15. 

*i.-?^**"*  ""*<>  **'«  ^y  "  the  evil 
*"«*<>«•  Matt  vL  34. 

God  hath  chosen  the  weak  things  of 
the  world  to  confound  the  things  which 
are  mighty.  i  Corri.  27. 

r»*    *.u     See  also  Matt  xi.  as. 

Out  of  the  mouth  of  babes  and  suck- 
lings hast  thou  ordained  strength. 
Ps.  vii.  a. 

Boy  the  truth  and  sell  it  not. 

Prov.  xxiii.  23. 

Do  good  to  them  that  hate  you. 
^  Matt  T,  44. 


Blessed    are    the   peace-makers   on 


earth. 


IIHen.  Vl7i'  i' 


<  iJ*"?'*'*  '  »Peei«l  providence  in  the 
fall  of  a  sparrow. 

Ham.  5:  a. 

He    that    doth    the    ravens    feed 
row.    As  You  Like  It  a: 3. 

God  shall  be  my  hope. 
nJtL*^''  ""^  »"'{««.  and  lantern  ti 
•"yte^  HHen.  VLa:3 


God  is  our  fortress. 


I  Hen.  VL  a:i. 


Most  sacrilegious  murder  hath  broke 

"""'th   "*  *  '"*''"****  tetitplt  and  stole 
The  life  o"  the  building.  Macb.  a: 3. 

.  I  as  free  forgive  as  I  would  be  for- 
*"?"•    ..       c  Hen.Vin.V:i 

I  pardon  him  as  God  shall  pardon 
"»«•  Rich.  11.5:3,^ 

?-V!i.*"''''L*"'  that  the  day  will  en«L 
And  then  the  end  is  known. 

Jul.  Caesar  5: 1. 

He   that   of  the   greatest   works   is 

finisher 
Oft  does  them  by  the  weakest  minister 
So  holy  writ  m  babes  hath  judgment 

shown.  All's  We  1.  a:  i. 


Buy  terms  divine  in  selling  hoars  <rf 
«•«>»•  Sonnet  14& 

Cherish  those  hearts  that  hate  thee. 
Hea  VIIL  3:* 


BIBUCAL  TRASSLATIOVS 


fi  ^ 


w 

=  i 


)■ 


lii 


OvtfcoflM  ttri]  with 


xiL  91. 


Prajr  for  then  that  dcmitcfully  om 
you.  Matt  V,  44- 

Bcarcth    all    thinft,    bclicveth    all  ^^ovt  ii  not  lort 

thinti,  hopcth  all  thing*,  endurcth  all  Which  altcrctb  whco  it  alteration  ftnda. 

tBififlrt.   Inv#  n#vf*-   ffBit*th  0 .   ..^ 


•  ..  e  y*  ■  ►'*<•  »'  »«rtp»tw» 
Tell  them  that  God  bidi  ut  do  |oo4 
(or  ewl.  Rkh.  IIL  i ." j. 

Pray  (or  then  that  have  done  teath* 
tout.  Rich.  III.  1:3. 

Love  i(  not  lovt 


things,  love  nevr'  (aiteth. 

I  Cor.  xiii.  7,  8. 
Whom  the  Lord  lovcth  he  chasten- 
rth.  Heb.  x'i.  6. 


Why  beholdett  thou  the  mote  that 
is  in  tny  brother's  eye  but  considerest 
not  the  beam  that  is  in  thine  own  eye. 

Matt.  vii.  3. 

Luhc  vL  4a. 


Let  every  man  be  swift  'o  hear,  slow 
to  speak,  slow  to  wrath.   James  1.  is). 


If  your  soul  were  in  my  soul's  stead. 


Sonnet  11& 

This  sorrow's  heavenly 
It  strikes  where  it  doth  love. 

Othello  s:a. 

You  found  his  mote;  the  king  yoor 

moie  did  see. 
But  I  a  beam  do  find  in  each  of  threa. 
Love's  Labor  4 : 3. 
A  moth  it  is  to  trouble  the  mind's 
eye-  Ham.  1 . 1. 

That  there  were  but  a  mote  in  yoor 
(eyes).  King  John  4:1. 

Give  every  man  thine  ear,  but  few  thy 

voice. 
Take  each  man's  censure  but  reserve 

thy  judgment.  Ham.  i :  3. 

Had  you  such  a  loss  as  I 


T  _V..ij   .  —-•"'-... ...  ,..f  w^i,i ,  sicau,  naa  you  sucn  a  loss  as  I 

J  would  strengthen  you  with  my  mouth,     I  could  give  better  comfort  than  you 

and  assuase  vour  irrirf       InK  vvi   A^  J-  ir!_^    t_L       _    ' 


and  assuage  your  grief.     Job  xvi.  4-6. 

It  is  easier  for  a  camel  to  go  through 
the  eye  of  a  needle.        Matt.  xix.  24. 


If  a  house  be  divided  against  itself 
that  house  cannot  stand. 

Mark  iii.  35. 

Be  baptized  and  wash  away  thy  sins. 
Acts  xxii.  16. 


For  all  have  sinned.    Rom.  iii.  23. 

The  tree  is  known  by  his  fruit. 

Matt.  xii.  33. 

Though  your  sins  be  as  scarlet  they 
snail  be  as  white  as  snow. 

Isa  i.  18. 


do.  king  John  3:4. 

It  is  as  hard  to  come  as  for  a  camet 
To  thread  through  the  postern  of  a 
needle's  eye.  Rich.  II.  5 :  5. 

O,  if  you  rear  this  house  against  this 

house 
It  will  the  woefullest  division  prove. 
Rich.  n.  4:1. 

Your  conscience  wash'd 
As  pure  as  sin  with  baptism. 

Hen.  V.  1:* 

Forbear  to  judge,  for  we  are  sinners 
»1I.  II  Hen.  VL  3:3. 

If  the  tree  be  known  by  the  fruit 
and  fruit  by  the  tree.  I  Hen.  IV.  2:4. 

What  if  this  curs'd  hand 
Were  thicker  than  itself  with  brother's 

blood? 
Is  there  not  rain  enough  in  the  sweet 

heavens,  ■* 
To  wash  it  white  as  snow? 


Ham.  3:3. 


I  Injury  or  harm. 


i\k 


SCRIPTURE  AND  SHAKSPBARB  PARALLELS 


35 


If  .  .  .  every  trtatcrtuion  and  ii§- 
obedience  received  a  juet  reconsenic 
of  reward,  bow  thall  we  escape  if  we 
aeglcct  (o  great  lalvation?  Hcb.  ii.  a,  3. 

Ye  will  not  come  onto  Me. 

John  V.  4a 

Whosoever  will  uve  hi*  life  shall 
.  lose  it.  Luke  ix.  14. 

Matt  X.  39. 

By  the  works  of  the  law  thall  no 
flesh  be  justified  Gal.  ii.  16. 


Godliness  with  contentment  is  great 
•••"•  1  Tim.  vi.  6. 

Neither  do  men  light  a  candle,  and 
put  it  under  a  bushel,  but  on  a  candle- 
stick and  it  giveth  lig'it  unto  all  that 
are  in  the  house.  Let  your  light  so 
shine  before  men.         Matt  v.  15, 16. 


Love  is  the  fulfilling  of  the  law. 
Rom.  xiii 


la 


Thy  right  hand  hath  holden  me  up. 
Ps.  xviii.  35. 

In  thy  presence  is  fullness  of  joy, 
at  thy  right  hand  are  pleasures  for 
evermore.  K  xvi.  11. 

Refresh  by  bowels  in  the  Lord. 
Philemon  Verse  20. 

.    Are  they  not  all  ministering  spirits? 
Heb.  i.   14. 

Thou  makest  it  soft  with  showers. 
Ps  Ixv.  10. 

As  the  cold  of  snow  in  the  time 
of  harvest  Prov.  xxv.  13. 


The  means  that  Heaven  yields  must  be 

embrac'd 
And   not    neglected;    else   if   heaven 

would 
And  we  will  not,  heaven's  offer  we 

refuK.  Rich  II.  3:2    . 

You  have  too  much  respect  upon  the 

world 
They  lose  it  that  do  buy  it  with  much 

care.  Mer.  of  Ven.  i :  i. 

Though  justice  be  thy  plea,  consider 

this: 
That   in   the  course  of  justice  none 

of  us 
Should  see  salvation. 

Mer  of  Ven.  4 :  i. 

Poor  and  content  is  rich  and  rich 
•"ouKh.  Othello  3:3. 

Heaven    doth    with    us    as    we    with 

torches  do 
Not  light  them  for  themselves:  for  if 

our  virtues 
Did  not   go   forth   of  us,   t'were  all 

alike  as  if  we  had  them  not. 

Meas.  for  Meas.  i :  1. 

How  far  that  little  candle  throws  hit 

beams 
So  shines  a  good  deed  in  a  naughty 
worid.  Mer.  of  Ven.  5 :  i. 

Charity  itself  fulfills  the  law 
And  who  can  sever  love  from  charity? 
Love's  Labor  4 : 3. 

In  the  great  hand  of  God  I  stand. 
Macb.  a: 3. 

The  treasury  of  everlasting  joy. 
II  Hen.  VL  2:1. 


And  bid  you  in  the  bowels'of  the 
Lord.  Hen.  V.  2:4. 

A  ministering  angel  shall  my  sister 
•>«•  Ham.  s:i. 

It  droppeth  as  the  gentle  rain  from 
heaven.  Mer  of  Ven.  4:  i. 


The   Lord   that   made 


earth  bless  thee. 


Ps. 


heaven 
cxxxiv. 


As  snow  in  harvest. 

Rich.  in. 


1:4. 


and  The  Lord  in  heaven  bless  thee. 

3-  Hen.  V.  4:1. 


It 


BIBLICAL  TRANSLATIONS 


':    d 


Ye  aik  and  ncetTe  not,  because  ye 
ask  amiss.  James  iv.  3. 


TiKMigh  I  be  rade  in  speech. 

II  Cor.  xi.  6. 

Ye  can  discern  the  face  of  the  sky. 
Matt  xvi.  3. 

Stand  therefore,  having  your  loins 
irirt  about  with  truth  and  having  on 
the  breastplate  of  righteousness. 

Eph.  vi  14. 

Wisdom  crieth  without ;  she  uttereth 
her  voice  in  the  streets. 

Prov.  L  ao. 

God  is  witness  betwixt  me  and 
thee.  Gen.  xxxi.  50. 

What   therefore   God   hath  joined 
together  let  not  man  put  asunder. 
Matt.  xix.  6. 
Mark  x.  9. 

Can  the  Ethiopian  change  his  skin 
or  the  leopard  his  spots? 

Jer.  xiii.  23. 

Woe  to  thee,  O  land,  when  thy  king 
IS  a  child.  EccL  x.  16. 

For  that  which  I  do  I  allow  not, 
for  what  I  would  that  do  I  not 

Rom.  viL  15. 


Neither  did  their  own  arms  save 
them;  but  Thy  right  hand  and  thine 
arm.  Ps.  xliv.  3. 

What  is  man  that  thou  are  mind- 
ful of  him  .  .  .  thou  hast  made  him 
little  lower  than  the  angels. 

Ps.  viii.  4. 
Heb.  ii.  6. 

Whose  names  were  not  written  in 
the  book  of  life.  Rev.  xvii.  8. 

Let  them  be  blotted  out  of  the  book 
of  the  living.  Ps.  Ixix.  38. 

To  everything  there  is  a  season  and 
a  time  to  every  purpose  under  heaven. 
EccL  iii.  I. 


We  Ignorant  of  ourselvea 
Beg  often  our  own  harms,  which  the 

wise  powers 
Deny  us  tor  our  good. 

Ant  and  Cleo.  3:1. 

Rude  am  I  in  speech. 

Othello  1:3. 

Men  judge  by  the  complexion  of 
the  sky.  Rich.  II.  3:  a. 

What  stronger  breastpUte  than  a 
breast  unuinted. 

II  Hen.  VI.  3:3. 

Wisdom  cries  out  in  the  streets  and 
no  man  regards  it  I  Hen.  IV.  i :  a. 


God  above 
Deal  between  thee  and  me. 

Macb.  4:3. 

God  forbid  that  I  should  wish  them 

sever'd 
Whom  God  hath  joined  together. 

Ill  Hen.  VI.  4: 1. 

Lions  make  leopards  tame 
Yea!  but  not  change  their  spots. 

Rich.  II.  1:1. 

Woe  to  the  land  that  is  govem'd 
by  a  child.  Rich.  lit  3:3. 

Alack,  when  once  our  grace  we  have 

forgot 
Nothing  goes   right;   we   would,  and 

we  would  not 

Meas.  for  Meas.  4 : 4. 

O  God!  thy  arm  was  here. 
And  not  to  us  but  to  thy  arm  alone 
Ascnbe  we  all.    Hen.  V.  4:8. 

What  a  piece  of  work  is  man,  how 

noble  in  reason,  how  infinite  in  faculty. 

in  form  and  moving  how  express  and 

admirable,  in  action  how  like  an  an^el. 

Ham.  3 : 3. 


name  be  blotted  from  the  book 
Rich.  II.  1 : 3. 


My 

of  life. 


There  is  a  time  for  all  things. 

Com.  Err.  2:2. 


SCRIPTURB  AND  SHAKSPEARB  PARALLELS 


A  eedtr  b  Ldtuion  with  fair 
onncbe*  .  .  .  and  of  high  stature 
.  .,  .  All  the  fowl*  of  heaven  nude 
Uieir  nests  in  his  bona^s  and  under  his 
branches  did  all  the  blasts  of  the  field 
bring  forth  their  young. 

Eiek.  xxxj.  3,  6. 


I  indeed  baptize  yon. 

Matt  iii.  ii. 

Without  a  parable  spake  he  not  unto 
vum.  Matt.  xiii.  34. 


There  was  a  cerUin  rich  man  which 
was  Clothed  in  purple.  .  .  . 

And  there  was  a  certain  beggar 
named  Lazarus  .  .  .  moreover  the 
oogs  came  and   licked   his   sores  .  .  . 

The  beggar  died,  and  was  carried 
by  the  angels  into  Abraham's  bosom. 
Luke  xvi.  22. 

Not  this  man  but  Barrabas.  Now 
Barrabas  was  a  robber. 

John  xviii.  40. 

He  casteth  out  devils  through 
Beelzebub.  Luke  xL  15. 


Legions  of  Angels 


Matt  xxvi.  S3. 


Then  Herod  ...  sent  forth  and 
«l'w,  a"  the  children  that  were  in 
Bethlehem.    .    .    . 

In  Rama  was  there  a  voice  heard, 
lamentations   and   weeping   and   great 
mourning,  Rachel  weeping  for  her  chil- 
dren and  would  not  be  comforted. 
Matt  ii.  16,  i& 

...He  (Herod)  said.  Go  and  search 
diligently  for  the  young  child  and 
when  ye  have  found  him,  bring  me 
word  again  that  I  may  come  and  wor- 
ship hin-  Matt  ii.  a 

And  the  younger  (son)  said  to  his 
father,— Father,  give  me  the  portion 
of  goods  that  falleth  to  me.    .    .    . 

■  And  (he)  took  his  journey  into  a 
far  country,  and  there  wasted  his  sub- 
stance with  riotous  living. 

And  whep  he  had  spent  alL  .  .  He 
began  to  be  in  waitt. 


ramping  lion 


17 

Thus  yield  the  cedar  to  the  axe's  edge 
Whose    arms    save    shelter    to    the 

prmcdy  eade; 
Under  whose  shade  the 

slept; 
Whose  top  branch  over-peer'd  love'i 
spreading  tree. 

Ill  Hen.  VL  5:2. 

I'll  be  new  baptized. 

Rom.  and  Jul.  3:2. 

Thou   Shalt  never  get  such  a  secret 

from  me. 
But  by  a  parable. 

Two  Gent  2:5. 

Dives  that  lived  in  purple. 

1  Hen.  IV.  3:3. 
As  ragged  as  Lazarus  in  the  painted 
cloth,  where  the  glutton's  dogs  licked 
his  sores.  I  Hen.  IV.  4:2. 

»!.  ***^  peace,   conduct   Iiis   soul   to 
the  bosom  of  good  old  Abraham. 
Rich.  n.  4:1. 

Would,  any  of  the  stock  of  Barrabas 

Had  been  her  husband  rather  than  a 

Christian.  Mer.  of  Ven.  4 :  i. 

Who's  there  i'  the  name  of  Belzc- 
ouD.  Macb.  2 :  3. 

He  holds  Belzebub  at  the  staves 
end.  Twelfth  Night  5:1. 

Legions  of  angels. 

Meriy  Wives  1:3. 

Whiles  the  mad  mothers   with  their 

howls  confused. 
Do  break  the  clouds,  as  did  the  wives 

of  Jewry 
At  Herod's  bloody-hunting  slauehfer- 

"«"•  Hen.  V.  y.y 


Ut  me  have  a  child  to  whom 
Herod  of  Jewry  may  do  homage. 

Ant  and  Cleo.  1:2. 


The  story  of  the 

,.  IlH«IlV.  2:1. 

1  have  received  my  proportion  like 
cf  »?*>•"  *^  "Two  Gent  2:3. 
bhall    I    keep   your   hogs    and   eat 
husks  with  them?    What  prodigal  por- 
tion have  I  spent  that  I  should  sUmd 
to  such  penuiy? 

As  You  Like  It  i :  i 


BIBLICAL  TRANSLATIONS 


■i  .5 


And  he  went  and  joined  himself  to 
a  citizen  of  that  country;  and  he  sent 
him  into  his  fields  to  feed  swine. 

And  he  would  fain  have  filled  his 
belly  with  the  husks  that  the  swine 
did  eat  Luke  xv,  ia—16. 

•  His  parents  answered  them  and  said, 
We  know  that  this  is  our  son,  and 
that  he  was  bom  blind. 

John  ix.  M. 


Who    did    sin,    this    man,    or  his 
parents,  that  he  was  bom  blind? 
I     If  ye  were  blind  ye  should  have 
no  sm;  but  now  ye  say,  we  see;  ther»>- 
fore  your  sin  remaineth. 

John  ix.  2,  41. 


And  Nathaniel  said.  Can  any  good 
thing  come  out  of  Nazareth? 

John  i.  46. 
Then  went  the  devils  out  of  the  man 
and  entered  the  swine. 

Luke  viii.  33. 

I  He  sat  down  with  the  twelve.  And 
as  tbiy  did  eat.  he  said.  Verily  I  say 
unto  you,  that  one  of  you  shall  betray 
me,  •  • 


He  that  dippeth  his  hand  with  me  in 
the  dish,  the  same  shall  betray  me. 

f  And  forthwith  he  (Judas)  came  to 
Jesus  and  said  Hail,  Master  I  and 
kissed  him. 

Matt  xxvi.  ao,  ai,  23,  49. 


'Judas  nith  onto  him,  not  Iscariot 
John  xiv.  22. 


'Tis  painted  about  with  the  stoty  of 
the  prodigal.        Merry  Wives  4:5. 

You  would  think  that  I  had  a  hun- 
dred and  fifty  Uttered  prodigals  lately 
come  from  swine  keeping  from  eatinc 
draft  and  husks.     I  Hen.  IV.  4:3. 

What  I  hast  thou  been  long  blind 
and  now  restored? 

Bora  blind! 

Ayt  indeed  was  he! 

What  woman  is  this? 

His  wife! 

Had'st     been     his     mother     thou 
could'st  have  better  told. 
A  blind  man  at  St.  Alban's  shrine 
Within    this    half-hour    received    his 

sight 
A  man  that  ne'er  saw  in  this  life. 

Great  is  his  comfort  in  this  earthly 
vale 

Although  by  his  sight  his  sins  be 
multiplied:  II  Hen.  VI.  2:1. 

Bass.  If  it  please  you  to  dine  with 
us! 

Sky.  Yes.  to  smell  pork,  to  eat  of 
the  habitation  which  your  prophet,  the 
Nazarite,  conjured  the  devil  into. 

Mer.  of  Ven.  i :  3. 

Did  they  not  sometimes  cry,  All  hail  I 

to  me? 
So    Judas    did    to    Christ,    but    he 

in  twelve 
Found  truth  in  all  but  one. 

Rich.   IL  4:1. 

Who  can  call  him  his  friend  that 
dtps  in  the  same  dish? 

Tim.  of  Athens.  3 : 2. 

So  Judas  kiss'd  his  master,  and  cried 
All  hail !  when  as  he  meant,  all  harm ! 

„.    ,.  Ill  Hen.  VLs:7. 

His  kisses  are  Judas's  own  children. 
,     As  You  Like  It  3:4. 

Three  Judases,  each  one  thrice 
worse  than  Judas.        Rich.  IL  3:2. 

A  kissing  traitor:  How  art  thou 
prov'd  Judas?      Love's  Labor  5:2. 

^       ...     .  My  name 

Be  yok'd  with  his  that  did  betray  the 
Best  Winter's  Tale,  i :  3. 

Hoi.  "  Tudas  I  am. 

Dum.  A  Judas! 

Hot.  Not  Iscariot,  sir,— 


SCRIPTURB  AND  SHAKSPBARB  PARALLELS 


\     The  place  called  Golgotha. 
_.      .         .  Matt  xxTti.  33. 

Tlie  place  of  a  skull.  Mark  xv.  la. 

j»  i?*  fir'*^  ***  %  ».'™"'  "hich  is  called 
in  the  Hebrew  Golgotha. 

.  John  xix.  17. 

-,.^1  *]••*  »?*?»  *««*  "Vened  and 
many  bodies  of  the  saints  which  slept 
arose  and  came  out  of  their  graves. 
Matt,  xxvii.  53. 

i,J!f^'*'*"'.v''?''?«*»   "*er  than 
light  because  their  deeds  were  evil. 

John  iii.  19. 


39 


Hoi.  "Judas  I  am."— 


^.  ^^  ••  •  took  water  and  washed 
BIS  hands  before  the  multitude,  saying. 
I  am  innocent  of  the  blood  of  this  jusit 
person.  Matt  xxvii.  24. 


thou  prov'd  Judas! 

Hof.  "Judas  I  an^  — 
T  ?!***■       *    ""*'*    shame    for    you 

Hoi  What  mean  you,  sir? 
^Boyrt.  To  make  Judas   hang  him- 

Hpl.  Btpn  sir;  vou  are  my  elder. 
BtroH.  Well    folliaw'd:    Judas    was 
hang-d  on  an  elder.' 

.     .         Love's  Labor  5 :  a. 

With  Pilate  wash  your  hands 
Showing  an  outward  pity:   yet  you 

Have  here  deliver'd  me  to  my  sour 
cross  ' 

And  water  cannot  wash  away  your 
««>»•  Rich.  IL  4: 1. 

How  W  like  Pilate,  would  I  wash 

n.^  hands 
Of  this  most  grievous  murtherl 

Rich.  in.  1:4, 

Memorize  another  Golgotha. 

&cb.  1:3. 

The  field  of  Golgotha,  and  dead  men's 
»'"'"»•  Rich.  n.  4:1. 

And  the  grave  stood  tenantless,  and 
the    sheeted    dead    did    squeal     and 


The  last  enemy  that  shaH  be  de- 
»troyed  is  death.  I  Cor.  xv.  alS. 

Thou  hast  brought  me  into  the  dust 
of  death.  ps.  ^xii.  15. 

To  give  li^ht  to  them  that  sit  in 
«naiess  and  m  the  shadow  of  death. 
Luke  L  79. 


gibber  in  the  Roman  streets. 

Ham.  I :  i. 

T>i    L  Those  men 

g'Ufn  not  in  actions  black  as  night 
Will  shun  no  course  to  keq>  them  from 
the  light  Pericles  i:i. 

Wh«i  the  searching  eye  of  heaven  U 

hid 
Behind  the  globe,  and  lights  the  lower 

world. 
Then  thieves  and  robbers  range  abroad 
"n»«M.  Rich.  n.  3:3. 

Death  once  dead,  there's  no  more 
dying  then.  Sonnet  146. 

—The  way  to  dusty  death. 

Macb.  5:5. 

Darkness  and  the  ^oomy  shade  of 
death  environ  you. 

IHea  VLs:4. 


The  common  tradition  was  th«  Judas  hang-d  himself  to  «i  elder  tree.  Knight 


BIBLICAL  TRANSLATIONS 


Thon  ihalt  tardy  die 


.  .""*  *e  '««1  bot  the  penalty  of 
Adam.  A»  You  iWltari. 

We  wiU  die  with  harness  on  our 
'^'^  Macb.  5:5. 

Mine  eyes  are  full  of  tears,  my  heart 
of  gnef ; 

Ah,  Humphrey  this  dishonor  in  thine 

age 
Will  bring  thv  heart  with  sorrow  to 

the  ground    II  Hen.  VI.  a: 3. 

to  MTd/rfis^d'S^Ta^      ''''CtT'''  ~""'^  ^-»  -''O- 
of  death.  Jobx.  a,.         No  traveller  returns.    Ham.  3:1. 


Gen.  il  17. 

Dead  in  his  harness. 

II  Mace.  XV.  aS. 

Then  shall  ye  bring  down  my  gray 
aairs  with  sorrow  to  the  grave. 

Gen.  xlii  jg. 


We  spend  our  years  as  a  tale  that  is 
**•'*'■  Ps   xc  9 

Man  is  like  to  vanity:  his  days  are 
a  shadow  that  passeth  away. 

Ps.   cxliv.  4. 

Which  long  for  death  but  it  cometh 
not  .  .  .  which  rejoice  exceedingly  and 
are  glad  when  they  can  find  the  grave. 
Job  lii.  21,  22. 

My  days  are  swifter  than  a  weaver's 
•huttle.  Job  vii.  6. 

To  die  is  gain.  Phil.  i.  21. 

I  die  daily.  I  Cor.  xv.  31. 


No  chastenmg  for  the  present 
seemeth  to  be  joyous,  but  grevious, 
nevertheless  afterward  it  yieldeth  the 
peaceable  fruits  of  righteousness. 

Heb.  xii.  11. 

Not  by  might,  nor  by  power,  but  by 
my  spirit.  Zech.  iv.  6. 

The  prince  of  this  worid  cometh. 
John  xiv.  30. 

Strait  is  the  gate  and  narrow  is  the 
way  which  leadeth  unto  life. 

Matt.   vii.   14. 
Luke  xiii.  24. 

Put  not  your  trust  in  princes. 

Ps.  cxlvi.  3. 


Life's  but  a  walking  shadow 

Told  by  an  jdiot,  full  of  sound 
Signifymg  nothing.  Macb.  s :  S. 

Death  at  whose  name  I  oft  have  been 

afeard 
Because  I  wish'd  this  world's  etemitv 
II  Hen.  VL  2:4. 

Life  is  a  shuttle. 

Merry  Wives  s :  i. 

Dying  so,  death  is  to  him  advant- 
age- Hen.  V.  4:1. 

The  queen    .... 
Died  every  day  she  lived. 

Macb.  4:3. 

Sweet  are  the  uses  of  adversity. 
As  You  Like  It  a:i. 


Not    by    might    master'd,    but    by 
special  grace.  Love's  Labor  1:1. 

He  is  the  prince  of  this  world. 

All's  Well  4:5. 

I  am  for  the  house  with  the  narrow 
sate-  All's  Well  4:5. 


T  ..   ,  ,0,  how  wretched 

is  that  poor  nun  that  hangs  on  prince's 
favors.  Hen.  VIIL  3.3. 


SCRIPTURS  AND  SHAKSPBARB  PARALLBLS 


Blessed  is  the  man  that  walketh  not 
In  the  counsel  of  the  ungodly. 

Ps.  i.  I. 

A  good  name  is  rather  to  be  chosen 
than  great  riches.         Prov.  xxii.  i. 
^  A  good  name  is  better  than  precious 
ointment  Ecd.  viL  i. 


For  wWch  of  you  intending  to  build 
a  tower,  sitteth  not  down  first  and 
counteth  the  cost,  whether  he  have 
sufficient  to  finish  it? 

Luke  xiv.  aS. 


Out  of  the  abundance  of  the  heart 
the  mouth  speaketh.  A  good  man  out 
of  the  good  treasure  of  the  heart 
bringeth  forth  good  things  and  an  evil 
man  out  of  the  -ivil  treasure  bringeth 
forth  evil  things. 

Matt  xii.  34,  35. 

Those  things  which  proceed  out  of 
the  mouth  come  forth  trom  the  heart, 
and  they  defile  the  man.  For  out  of 
the  heart  proceed  evil  thoughts. 

Matt.  XV.  18, 19. 

Mark  vii.  21. 

•  .'''*l^  tongue   is  a  fire,  a  world  of 
iniquity.  James  III.  6. 

Their  tongue  is  deceitful. 

Micah  vi.   12. 

He  that  rolleth  a  stone  it  will  re- 
turn upon  him.  Prov.  xxvi.  27. 


Remember  not  the  sins  of  my  youth. 
Ps.  XXV.  7. 

Let  me  be  weighed  in  an  even 
balance.  job    xxxi.  6. 

Prosperity  and  adversity  .... 
God  hath  set  the  one  over  against  the 
other.  Eccl.  7.  14. 


,         Tis  meet- 
That  noble  mmds  keep  ever  with  their 
likes.  Jul.  CsBS.  1:2. 

Good  name,  in  man  and  woman,  dear 

my  lord 
Is  the  immediate  jewel  of  their  sonls. 
Who  steals  my  purse,  steals  trash. 
But  he  that  filches  from  me  my  good 

name 
Robs  me  of  that  which  not  enriches 

him. 
And  makes  me  poor  indeed. 

Othello  3:? 

When  we  mean  to  build 
Then  must  we  rate  the  cost  of  erec- 
tion 
Which,  if  we  find  outweighs  ability. 
What  do  we  then,  but  draw  anew  the 

model 
In  fewer  offices:  or  desist 
To  build  at  all. 

11  Hen.  IV.  1:3. 

What  his  heart  thinks  his  tongue 
speaks.  Much  Ado  3:2. 


All  offenses,  my  lord,  come  from  the 
heart.  Hea  V.  4:8. 


The  tongues  of  men   are   full   of 
deceits.  Hea  V.  s  :2. 


When  we  first  put  this  dangerous  stone 

a  rolling 
T'would  fall  upon  ourselves. 

Hea  VIIL  5 :2. 

If  the  sins  of  your  youth  are  for- 
given you.  Winters  Tale  3 : 3. 

Justice     always     whirls    in     equal 
measure.  Love's  Labor  4:3. 

The  web  of  our  life  is  of  a  mingled 
yam,  good  and  evil  tngether 

All's  Well  4:3. 


|r 


BIBUCAL  TRANSLATIONS 


*h7ttV°*  ^  ""*"•  *«  «n  the  way  of 

the  frowtrd.  Pror.  xjdL  s. 


The  way  of  a  fool  is  right  in  his 
2Z1^,^-  •»?'  ^  that  hearlcSeth  unto 
counsel  is  wise  Prov.  xii.  "s? 

If  any  nun  seemeth  to  be  wise  in 
this  world  let  hin,  become  Tf^ M 
he  may  be  wise.  i  Cor.  iii.  i" 

Be  sure  your  sins  will  find  you  out. 
Num.  xxxii.  23. 


I  am  anuied  methinks,  and  lose 
way 


my 


A 

Among  the  thorns  and  dangers  of  this 
worKL  King  John  4: 3. 


the  wise  man  knows  he  is  a  fool 

As  You  Like  It  5:1. 


00^  Rh?M  '""»""''  "i  '•'«  fathers 
fc^rth^^'y""  ""'<•  the  third  and 
fourth  generatioa  Ex.  xx.  5. 


With  most  miraculous  ornn. 

Ham.  a:a. 


He  that  loveth  silver  shall  not  be 

Snl^'^'f  ^":  "•"•  he  thkt  love?h 
abundance  with  increase.  Eccl.  v.  10 


th^T,mh  '*"°*»'"P  hath  the  wolf  with 
the  lamb.  ficclus  xiii.  17. 


.  lS5?>  *^°"  •*"*  °"*  Leviathan  with 
■  °°*'*-  Job  xlL  I. 


l,«Ti''«J',  *•'*"*""'  »  '"''■  '«"  from  the 
head  of  any  of  you.       Acts  xxvii.  34. 


nJ^**'  j**Jf**",  ^«'»«*  the  glory  of 
God  and  the  firmament  showeth  his 
handy  work.  .  There  is  no  speech 
h«rd    *"'^'  ''here  their  voice  is  not 

When  the  morning  surs  sangV 
««ther.  Job  xxxviii   7. 

'  Hallam  speaks  of  this  passage  as 
speare. 


Ti.     •  .  .  Mer.  of  Vea  3:5. 

Thy  sins  are  visited  in  this  child 
The  canon  of  the  law  is  laid  on  him 
Remfv.^"'  */"  '**=^**  generation    *'" 
wnmh  '"^    *hy    'in    conceiving 
womb.  King  John  a:  I. 

The  aged  man  that  coffers  up  his  sold 

^^tJ^I^^  hath  eyes  his  treasure  to 
behold.  Lucrece,  St  133. 

*^**"fJM«':hes  beasts  to  know  their 
^^yy^j^who  does  the  wolf  love? 
Ah !  to  devour  him.  Corio.  a:  i. 

We  may  as  bootless  spend  our  vain 
uJi«han  "  **"**  precepts  to  the 
To  come  ashore.  Hen.  V.  3 ;  3. 

v«   ~_*  .         There  is  no  soul 

RmJ^T  ^  """=h  perdition  as  a  hair 

Wdi\1,o'XX?or '"»  ^^ 

The  Tempest  i:a. 

P^u-  u'"!'  .*^?  ^'^f  of  heaven 

oW-  **"'  Puiiats  of  bright 

r'€ou"M^t^'™""*  "'^   ^^"^^ 
But  m  his  motion  like  an  angel  sings.' 
Mer.  of  Ven.  5 :  i. 

'The  most  sublime,"  perhaps,  ia  Shak- 


SCRIPTURS  ASD  SHAKiPBARB  PARAUSLS  «, 

Mer.  of  Vea  s:i. 


over 


Num.  xL  9. 

x-roy.  3CXVIL  7.         To  loathe  the  Uste  of  sweetness. 

I  Hen.  IV.  3 :  i 

Hist  thou   found  honey?     Eat  so  Tk  .       .. 

ranch  as  is  sufficient  for  thee  leat  tkou     t.  i—.t.  •    ^  ,-■     '"e^'Mt  honey 

be  filled  therewith  and  vn^tiJ*  *""     Isjoathsome  m  delic.ousness. 


be  filled  therewith  and  vomit  it. 

Prov,   XXV.   16. 


And     m    the    taste    confounds    the 

appetite, 
Therefore  love   moderately. 

Rom.  and  Jul.  a:S. 


Unstable  u  water.    Gen.  xlix.  4.  False  as  water.         Othello  5:2. 


Fear  not,  neither  be  thou  dismayed. 
Josh.  viii.  I. 


Cheer  thy  heart,  and  be  thou  not 
dismayU  Rich.  HI.  5:3. 


d^rof^hifsssr'.ut^j'ei!  ^•''3^"' ""'  "*"^'  •" '  -«'  °^ 

h  WnS"forth*"sikn„d^Vw?i^^     I*  '"*^  %»«•«>".=  -<!  '«'  »«ion,  lust 

James  L  14,  15.         Savage,  extreme,  rude,  cruel,  not  to 

trust;  .   .   . 
All  this  the  world  well  knows;   vet 

none  know  well 
To  shun  the  heaven  that  leads  men 

to  this  hell.  Sonnet  129. 


To  be  tempted    of  the  devil. 

Matt  iv.  t. 

the  son  and  the  son  against  the  father. 
Luke  xiL  53. 


O  gener.ntion  of  vipers. 

Matt  iii.  7. 

Their  poison  is  like  the  poison  of  a 
serpent,  they  are  like  the  deaf  adder. 
Ps.  Iviii.  44. 


They  have  shanened  their  tongues 

fe/ !?*''*"*•  ■•*'*«^«  poison  i*  "Oder 
their  lips.  p,^  ^   ^ 


Shall    I   be   tempted   of  the   devil 
thus?  Rich.  ni.  4:4. 

-,     ...  And  the  bond 

Cracked  between  son  and  father : 
This  villian  of  mine  comes  under  the 
prediction;    There's    son    against 
father.  King  Lear  i.a. 

A  generation  of  vipers. 

Troi.  and  Cress.  3 :  i. 

Have  ears  more  deaf  than  adders. 
Troi  and  Cress.  2 : 2. 
Art  thou  like  the  adder,  waxen  deaf 
Be  poisonous  too. 

n  Hen.  VL3:2. 

tor  with  doubler  tongue  than  thine. 
Thou  serpent— never  adder  stuur 

Mid.  N.  DrTjrx 


44 


BIBUCAL  TRANSLATIONS 


!        i 

% 
t 


i       i 


f 


T>x  <><«  is  timed  to  hi*  own  yomit 
II  Peter  il  as. 


Let  the  day  pensh  in  which  I  was 
Dorn,  and  the  night  in  which  it  waa 
•aid,  there  is  a  man  child  conceived. 
Job  iii.  3. 

lU-favored  and  lean  fleshed. 

Gen.  xlL  19. 


Thoi. 
live. 


Shalt  not  suffer  a  witch  to 
Ex.  xxii.  i& 


.    For   saton   himself  is   transformed 
mto  an  angd  of  light 

II  Cor.  xL  14. 


How  art  thou  fallen  from  heaven 
p,  Lucifer  ...  yet  thou  shalt  be 
brought  down  to  hell. 

Isa.  xiv.  12,  15. 


What  is  thy  name?  And  he  said, 
Legion,  because  many  devils  were 
entered  in  him.  Luke  viii.  30. 

Mark  v.  9. 

Then  the  devil  said  ...  It  is 
written,  He  shall  give  his  angels 
charge  concerning  thee. 

Matt.  iv.  s,  6. 

And  Satan  said,  sfcin  for  skin.  Yea 
all  that  a  man  hath  will  he  give  for 
his  life.  But  put  forth  thine  hand  now 
and  touch  his  bone  and  his  flesh  and 
ne  will  curse  thee  to  thy  face. 

Then  said  his  wife  unto  him,  dost 
thou  still  retain  thine  integrity?  Curse 
God  and  die.  But  he  said.  What !  shall 
we  receive  Kood  at  the  hand  of  God 
and  not  evil;  m  all  this  did  not  Job 
sm  with  his  lips.  Job  il  4,  la 


So,  to.  thou  common  doc  did'it  tbon 
disgorge  ^  "~" 

Thy  glutton  bosom  .  .  . 

And  now  thou  would'st  eat  thy  dead 
vomit  up.  II  Hen.  IV.  I  :T 

Turn  this  day  out  of  the  week: 
...  Let  wives  with  child 
I'ray  that  their  burdens  may  not  fall 
this  day.  King  John  3:1. 

If  to  be  fat  be  to  be  hated  then 
i'haraohs  lean  kine  are  to  be  loved. 
I  Hen.  IV.  3:4. 

Receive  the  sentence  of  the  law  for 

sins 
Such^M^JJ^  God's  book  are  adjudged 

The  witch  shall  be  burned  to  ashes. 
II  Hea  VL  2:3. 

»r^  ,    The  devil  hath  power 

10  assume  a  pleasmg  shape. 

iirL        .    .,  Ham.  3:2. 

When  devils  will  their  blackest  sins 

put  on 
They  do  suggest  at  first  with  heavenly 

shows.  Othello  2:3, 

Thou   art    more    deep   damned    than 

rnnce  Lucifer. 
There  is  not  yet  so  ugly  a  fiend  of 

■a    }\,    ...  King  John  4:3. 

He  falls  like  Lucifer  never  to  hooe 

**Tho„.h^    K-      Hen.  Vm.  3:;?^ 
».^.  ^^•i'?'  ^  ?'  ??°*  »  gentleman 
as  the  tevil  is,  as  Lucifer  and  Belzebub 
himself.  Hen.  V.  4:7. 

.•„  ILf"  *^^  /'*''!'»  '/*.  •«"  ♦»«  <l«wn 
in  little,  and  Lenon  himself  possessed 
him.  Twelfth  Night  3:4. 


The  devil  can  cite  scripture  for  his 
purpose.  Mer.  of  Ven.  1 : 3. 


I  am  as  poor  as  Job,  but  not  as 
patient.  HHen.  IV.  i:a. 

Ford.  Slanderous  as  Satan? 
Poge-  And  poor  as  Job? 
Ford.  .\nd  as  wicked  as  his  wife? 
Merry  Wives  5 : 5. 


SCRIPTURB  AND  SHAKSPBARB  PARALLELS 


4S 


The  prince  of  thit  world  cometh. 
John  xiv.  ya. 

For  it  wu  not  an  cnemv  that  re- 
nroached  me :  then  I  could  have  borne 
it:  neither  was  it  he  that  hated  me 
that  did  magnify  himself  against  me. 

Bnt  it  was  thou,  a  man  mine  equal, 
my  guide,  and  mine  acquainunce. 

We  took  sweet  counsel  together, 
and  walked  into  the  house  of  God  in 
company.  Pi.  Iv.  12,  14. 


Whosoever    shall    say    'thou    fool* 
shall  be  in  danger  of  hell  fire. 

Matt  V.  22. 


The  righteous  shall  flourish  like  a 
I»im  tree.  Ps.  xdi.  12. 

I  will  have  mer*^  on  whom  I  will 
have  mercy  and  I  will  have  compassion 
on  whom  I  will  have  compassion. 
Rom.  ix.   15. 

Thou  shall  not  kill.       Ex.  xx.  13. 
Thou  shalt  do  no  murder. 

Matt.  xix.  i& 

Thou  shalt  not  steal. 

Ex.  XX.  15. 

Woe  unto  them  that  call  evil  good 
and  good  evil;  that  put  darkness  for 
light  and  light  for  darkness. 

Isa.  V.  30. 

His  mischief  shall  return  upon  his 
own  head.  Pg.  vii.  16. 


His  blood  be  on  us  and  our  chil- 
">*"•  Matt  xxvii.  35. 

He  that  toucheth  pitch  shall  be  de- 
filed therewith,  and  he  that  hath  fel- 
lowship with  a  proud  man  shall  be 
like  hun.  Ecclus  xiii.  i. 


He  is  the  prince  of  the  world. 

All's  WeU  4:5. 

The  private  wound  is  deepest :  O  tirac^ 

most  accurs'd, 
Mongst  all  foes,  that  a  friend  should 

be  the  worst. 

Two  Gent  of  Ver.  5 : 4. 

Thou  that  did'st  bear  the  key  of  all  my 

counsels. 
That  knew'st  the  very  bottom  of  my 

soul, 
That  almost  might  have  coin'd  me  into 

gold  .  .  . 
May  it  be  possible,  that  foreign  hire 
Could  out  of  thee  extract  one  spark 

of  evil 
That  might  annoy  my  finger? 

Hen.  V.  3:x 

If  they  should   speak,   would  almost 

damn  those  ears 
Which,  hearing  them,  would  call  their 

brothers  fools. 

Mer.  of  Ven.  i :  i. 

You  shall  see  him  a  palm  in  Athena 
again.  Tim.  of  Athens  5 :  i. 

The  words  of  Heaven,— on  whom  it 

will,  it  will; 
On  whom  it  will  not  so;  yet  still  'tis 

just  Meas.  for  Meas.  1:3. 

The  great  King  of  Kings  hath  in  the 

table  of  his  law  commanded 
That  thou  shalt  do  no  murder. 

Rich.  HI.  1:4. 

Thou  shalt  not  steal. 

Meas.  for  Meas.  i :  a. 

Oftentimes,  to  win  us  to  our  hsrm. 
The   instruments   of  darkness   tell   ua 
truths.  Macb.  i :  3. 

O  God,  what  mischief  work  the  wicked 

ones 
Heaping  confusion  on  their  own  head 

thereby.  HHen.  VI.  3:1. 

My  deeds  upon  my  head. 

Mer.  of  Ven.  4:  i. 

They  that  touch  pitch  will  be  de- 
filed. Much   Ado  3:3. 
As  like  to  pitch  defile  nobility. 

II  Hen.  VI.  3:1. 
This  pitch  doth  defile,  so  doth  the 
company  thou  keepest. 

I  Hen.  IV.  3:4. 


BIBUCAL  TRANSLATIOSS 


Ai  he  that  licth  dowa  in  the  midrt 
•t  the  tea,  or  as  he  that  Ueth  down 
Vpoo  the  top  of  a  maat. 

Prov.  xxHL  34. 

Strong  built  of  Bashan  have  betct 
ne  round.  They  gaped  upon  me  with 
their  mouths  as  a  ravening  and  roar- 
WW  lion.  Ps.  xxii.  la,  13. 

If  a  man  dies  and  have  no  son,  then 
ye  shall  cause  his  inheritance  to  pass 
upon  his  daughter.       Num.  xxviL  & 

The  ten  commandments. 

Ex.  xxxiv.  a8. 

And  the  Lord  God  took  the  man 
and  put  him  into  the  garden  of  Eden 
*o  dress  it.  Gen.  ii.  15. 

The  woman  said,  the  serpent  be- 
guiled me  and  I  did  eat.    Gen.  iii.  13. 

>  And  the  Lord  God  sent  him 
(Adam)  forth  from  the  nrden  to  till 
the  ground.  Gen.  iii.  23. 

And  Eve  bare  Cain  and  said,  I  have 
gotten  a  man  from  the  Lord. 

Gen.  iv.  1, 

Cain  rose  up  against  Abel  his 
brother  and  slew  him.      Gen.  iv.  8. 

.The  voice  of  thy  brother's  blood 
cneth  unto  me  from  the  ground. 
G«i.  iv.  la 


And  now  art  thou  cursed  from  the 
**'*"•  Gen.  iv.  11. 

A  fugitive  and  a  vagabond  shalt 
thou  be  m  the  earth.        Gen.  iv.  12. 

And  they  went  unto  Noah  into  the 
ark  two  and  two  of  all  flesh  .  .  .  And 
the  flood  was  forty  days  upon  the 
earth.  Gen.  vii.  15, 17. 


Lives  like  a  drunken  sailor  on  a  mast 
*^dy  with  every  nod  to  tumble  down 
Into  the  fatal  bowels  of  the  deep. 
Rich  III  3T4. 

Ant  and  Gca  3:3. 

In  the  book  of  Numbers  is  It  writ, 
When  the  man  dies,  let  the  inhentance 
DeKend  unto  the  daughter. 

Hen.  V.  i:j. 

I'd  set  my  ten  commandments  in 
your  face.  II  Hen.  VL  1:3. 

Thou  old  Adam's  likeness   set  to 
dress  this  garden.  ... 
What   Eve,   what   serpent  hath   sue- 

gested  thee. 
To  make  a  second  fall  of  cursed  man. 
Rich  IL  3:4. 

In  the  state  of  innocency  Adam  fell. 
n^  iHen.  IV.  3:3. 

The  scripture  says,  Adam  digged. 

Ham.  s:i. 

The  birth  of  Cain,  the  first  male 
«>»'ld.  King  John  3:4. 

The  first  bom   Cain. 

II  Hen.  IV.  I :  i. 

How  the  knave  jowls  it  to  the  ground. 
A»  if  It  were  Cain's  jawbone  that  did 
the  first  murder.      Ham.  5:1. 

O  my  offence  is  rank,  it  smells  to 

heaven 
It  hath  the  primal  eldest  curse  upon't 
A  brothers  murder.         Ham.  3:3 
Which   blood    like    sacrificing   Abel's 

cnes 
Even  from  the  tongueless  cavern  of 

the  earth.  Rich.  II  1:1. 

Thy    brother's  blood    the    thirsty 
earth  hath  drunk.  Ill  Hen.  VL  2:3. 

Be  thou  cursed  Cain 
To  slay  thy  brother  Abel. 

I"Hen.  VI.  1 : 3. 

AVith  Cain,  go  wander  through  the 
shade  of  night.  Rich.  II  5:6. 

There  is  sure  another  flood  toward 
And  these  couples  arc  coming  to  the 

«    ^J^«     .A*  You  Like  It  5:4. 

Noah  s  flood  could  not  do  it. 

Com.  of  Err.  3 : 2. 


SCRIPTURE  AND  SHAKSPEARB  PARALLELS 


Now  of  yoa  ihall  approach  to  any 
that  It  near  oi  kia      Ley.  xviii.  6. 


And  the  house  of  Jacob  shall  be  a 
are,  and  the  house  of  Joseph  a  flame, 
and  the  house  of   Esau   for   stubble 

there  shall  not  be  any  renuining  house 
of  Esau.  Obadiah.  Verse  iR 

He  that  ruleth  over  men  must  be 
)««•  11  Sam.  xxiii.  3. 


Whosoever  hateth  his  brother  is  a 
murderer.  I  John  iii.  15. 


Adam's  sons  are  my  brethren,  and 

truly 
I  hold  it  a  sin  to  match  in  ray  kindred. 
Much  Ado.  a:  I. 

^    ..    ...     «...     — *"'  ^  W«  *" 
To  kmdle  their  dry  stubble,  and  their 

blaie 
Shall  darken  him  forever. 

Coria  a:  t. 

He  who  the  sword  of  Heaven  will 

bear. 
Should  be  as  holy  as  severe. 

Meas.  for  Meas.  3 :  a. 

Hates  any  man  the  thing  he  would 
not  kill.  Mer.  of  Yen.  4:1. 


And  Jacob  said  thou  shah  not  give  Shy.  When  Jacob  am'd  hi.  ,,„^u 

me  anyt&in,:  if  thou  wilt  do  this  tfing     Laban^s  7h^.  ^  '^ "  •"*  ""''' 

tor  me  1  will  affa.n   f*«#f  SM/I  Irm^*^  «l...  nH.  •  -    V        t^' 


for  me  I  will  agam  feed  and  keep  thy 

I  will  pass  through  all  thy  flock 
to-day,  removing  from  thence  all 
speckled  and  spotted  cattle,  and  all  the 
brown  cattle  among  the  sheep,  and  the 
spotted  and  speckled  among  the  goats: 
and  of  such  shall  be  nw  hire.' 

Gea  XXX.  31. 


This  Jacob  from  our  holy  Abraham 
was. 

.  Ant.  And  what  of  him?  did  he  Uke 
interest  ? 

Shy.  No,  not  Uke  interest,  not  as 
you  would  say — 
Directly  interest     Mark   what  Jacob 

did: 
When  Laban  and  himself  were  com- 
promised 
That   all    the   Eanlings*   which   were 

streak  d  and  pied 
Should  fall  as  Jacob's  hire.  .  .  . 
Ant.  "This  was  a  venture,  sir,  that 

Jacob  scry  d  for 
A  thing  not  in  his  power  to  bring  to 

pass. 
But  sway'd  and  fashioned  by  the  hand 

of  Heaven. 
Was   this   inserted   to  make   interest 

good?* 
Or  is  your  gold  and  silver  ewes  and 

rams?  Mer.  of  Ven.  1:3. 

t.^^^J^'^  '  •  ■  *°°^  *  hammer  in  ni  yield  him  thf*  3«1m« 

ground,  for  he  was  fast  asleep.  »  n«u.  iempest3.3. 

Judges  IV.   31. 

an^thi JJf  iuK*"'""^   !*"?'*  l''*™  *"*»     I  »"»  not  Samson 

and  thigh  with  a  great  slaughter.  To  mow  them  down  before  me 

Judges  XV.  8.  Hen.  VHI.  5:3. 

hll^lTvZ  °'""  ''*''■  '^""  '''*  *'"  des^Pt'on  of  Jacob-Uban  contract  in  the 

Eanling  —  a  lamb  new-bom. 
SpJ^et^Zt"'  ^^^''^''  "**^  '^'  ^«"'°"  •""-n  "^  Bishop's  Bible  (1568). 


BIBUCAL  TRANSLATIONS 


And  Sunion  took  tht  doon  of  tht 

nt«  of  th«  dty  .  .  .  put  them  upon 
liU  thpuUlcn  and  carried  them  to  the 
top  of  tiM  hill.  Judfta  xvi  3. 

And  Jcphtliah  Towad  a  vow  unto  tiia 
Lo'««-  Jadfet  xi.  30. 

And   Jcphthah  judged   Iirael   fix 
y****-  Judgea  xii.  7. 


Goliath  of  Gath  ...  and  the  tuff 
of  his  spear  was  like  a  weaver's  beam. 
I  Sam.  xvii.  7. 

u  'Hi?'?'*"'*  David  ran  and  stood  upon 
the  Phtlistme  and  toolc  his  sword  and 
slew  him,  and  cut  off  his  head. 

I  Sam.  xvii.  31. 

When  the  Queen  of  Sheba  heard  of 
the  tame  of  Solomon  concerning  the 
name  of  the  Lord  she  came  to  prove 
him  with  hard  questions. 

I  Kings  X.  I. 


Because  the  King's  command  was 
urgent  and  the  fire  exceeding  hot  the 
flame  of  the  fire  slew  those  men  that 
took  up  Shadrach,  Meshach  and 
Abednega  Dan.  iii.  aa. 

And  Daniel  convicted  them  of  false 
witness.  And  from  that  day  forth  was 
D«n»el  had  in  great  reputation. 

Susanna  Vs.  61,  64. 


Samson  Master:  .   .  h«  carried  tht 
town  gatea  on  hia  back,  like  a  porter. 
Lrove'a  Labor  i:a. 


.  ^' *"y  ^^  you  know  cause,  or  just 
impediment,  why  these  two  persons 
should  not  be  joined  together  in  holy 
matrimony,  ye  are  to  declare  it. 

Episcopal  Prayer  Book. 


Than  Jcphthah's  when  he  sacrificed  hia 
daughter.        Ill  Hen.  VI.  « :  i. 
Ham.  O  Jephthah  judge  of  Isra«L 
what  a  treasure  hast  thou! 

Pol.  What  a  treasure  had  he  my 
lord?  ...  ' 

Ham.  Km   I  not  i*  the  right  old 
Jephthah? 

lord!"''  "  ^^  ""  "**  J*'*"*''  "y 

■    ^  '".Tf  ■  •'•"Khter  that  I  love  pass- 
ing well.'  Ham.  a: 3. 

Goliath  with  a  weaver's  beam. 

Merry  Wives.  5:1. 

wnich  he  did  wave  against  my  throat 

•   •   •  I  hive  uken 
His  head  from  him.    Cymb.  4:3. 

-,  .    Sheba  was  never 

More   covetous  of   wisdom   and   fair 

virtue 
Than  this  pure  soul  shall  be. 

Hen.  VIII  5 : 4. 

Sec  the  whole  of  Cnmmer't  hlesttnt 

Viii  "**  **^  *"'**'  '*    "*^ 

Heat  not  a  furnace  so  hot 
That  it  do  singe  thyself. 

Hen.  Vin.  x:i. 


^  D*n«el  come  to  judgment!  yea  a 

Daniel 
O  wise  young  Jud«,  how  I  do  honor 

thee.  Mier.  of  Ven.  4:1. 


If  either  of  you  know  any  inward 
impediment,  why  you  should  not  be 
conjoined,  I  charge  you,  on  your  souls. 
to  utter  It  Much  Ado.  4:1. 


T  'Z?*  *^°^  ***  Jephthah'*  daughter  so  copiously  quoted  in  this  pUy  i«  given  in 
Judges  XI.  30-4a  »•  j  •»  ••tcu  m 


BOOK   THIRD 


The  Religious  World  of  Shakspeare 


/.    VERSATILITY  OF  SHAKSPEARE  IN  THE  USE  OP 
THE  BIBLE 

II.    TYPES  OF  CHARACTER  FROM  SCRIPTURE 

III.  HEROES  AND  HEROINES 

IV.  THE  MORAL  INCULCATIONS  OF  SHAKSPEARE 

V.    TRAGEDY  IN  THE  BIBLE  AND  IN  SHAKSPEARE 

VI.    RELIGIOUS    THOUGHT   IN    THE    PLOTS    OF    THE 
PLAYS 

VII.    SHAKSPEARE  AND  IMMORTALITY 


49 

LIBRARY 
HOIY  CROSS  SEMINARY 
U  CROSSE.  WISffftMau 


05289 


Hi 


'iui 


111 


I 

VERSATILITY  OF  SHAKSPEARE  IN  THE  USE  OP  THE 

DIBL0E 

i^^'^^^  of  Shak^re"  i,  i„  nothing  more  strikingly  mani- 

tht  t^KStlel^^tu^SnT^ "^  "'-^'•^^  -  •  ^^^  o' 

But  there  are  some  examples  of  his  versatility  of  ««,;«.     u-  u 
of  peculiar  interest  from  thJ  ^^dpointTS^L^oLT  ViSltS 

uses  in  five  plays,  and  TudaTis  n^^  «7t!L!  """  '•"■  ^^O"' 
plays  to  expVesV  hTod^T^iiSfTs t^^Ti*:^..^  '"  "^"^  ^'^^°* 
as  the  infamy  of  betrayToftlfd.'  t^tt^^n'"  r^Sn  P  ^" 
sages  and  Scripture  Themes)  *  »yw»nym.    (See  Parallel  Pas- 

T-  __.  "There  is  no  bar 

To  make  against  your  highness'  claim  to  France 
But  th,s.  which  they  produce  from  Pharam^ 
No  woman^shaU  succeed  in  Salique  UmT" 

and'r 'J^Fi;ratTa:;d  ^e^i^^^^^^  '^'  ^»  -"^  »  Germa-y 
the  disputed  territory  whISi  ^^  do  T  "^""^  *°  P™^«  ««* 
"ot  subject  to  the^w  of  King  ^^^  ^^^'j  '*^*  ""*  -*» 
justify  himself,  in  his  intended  ^^Tti  t^f  ^'^'  '^°"»  *° 
good  wiU  of  the  church,  asks:  "X;  Tlh  ri^ht^  "^  *^*  *^« 
this  claim?"   AndCanterln,,yan.w^,:l*"^''*"'*'«»'»«=i«<»™*ke 

51 


I; 

I 


m 


9$  REUGIOUS  WORLD  OP  SHAKSPEARB 

"The  sin  upon  my  head  dread  sovereign; 
For  in  tlie  book  of  Numbers  is  it  writ, 
When  the  man  dies,  let  the  inheritance 
Descend  unto  the  daughter." 

Hen.  V.  i:2. 

Again,  in  the  play  of  Hamlet  how  skillfully  employed  is  the  story  of 
Jephthah  and  his  daughter  in  a  conversation  with  Polonius.  And  the 
same  Bible  incident  serves  to  illustrate  the  effects  of  a  sinful  oath  in 
this  passage : — 

"  To  keep  that  oath,  were  more  impiety 
Than  Jephthah's,  when  he  sacrificed  his  daughter." 

Ill  Hen.  VI.  5:1. 

A  striking  picture  is  drawn  in  Richard  II.  The  King,  while  impris- 
oned in  a  dungeon  at  Pomfret  Castle,  indulges  in  a  soliloquy  upon  a  very 
singular  thought : — 

"  Studying  how  to  compare 
This  prison,  where  I  live,  unto  the  world: 
And,  for  because  the  world  is  populous, 
And  here  is  not  a  creature  but  myself, 
I  cannot  do  it;— Yet,  I'll  hammer  it  out. 
My  brain  I'll  prove  the  female  to  my  soul ; 
My  soul  the  father:  and  these  two  beget 
A  generation  of  still  breeding  thoughts. 
For  no  thought  is  contented." 

Strange  as  this  fancy  is,  it  is  attended  with  devout  and  Scriptural 
reference : — 

"  The  better  sort- 
As  thoughts  of  things  divine— are  intermixed 
With  scruples,  and  do  set  the  word  itself 
Against  the  word:* 

As  thus,— Come  little  ones;  and  then  again,—* 
It  is  as  hard  to  come,  as  for  a  camel 
To  thread  the  postern  of  a  needle's  eye." 

RkkII.s:s. 

•Some  versions  give  "faith"  here  instead  of  "word " 


VBRSATIUTY  IN  USB  OP  BIBLE  „ 

The  Scripture  parallel  of  this  is  given  elsewhere  in  this  work,  but  it 
.»  worthy  of  notice  here,  that  the  dramatist  saw  the  true  meaning  of  the 
eye  of  a  needle"  m  Matt.  xix.  24;  hence  the  use  of  the  word  'Wem* 
conveying  the  thought  of  a  small  door  or  gate. 

While  Shakspeare.  in  his  environment,  was  unable  to  do  justice  to 
the  gemus  and  cha^cter  of  Joan  d'Are.  yet  how  greatly  his  pirtraiture 

hL^lTf"'?^"?*,     *"'\'"'!^l"  ''^'^'  "^^  P^'=J"d'<=«J  conceptions  of 
2iT  *°"u.  '^"*^'  •"*  P""**"*'  '^"^  slanderous  caricatures 

which  were  current  in  his  day  yet  he  raises  her.  at  once,  to  a  personTf 

wUh  DetoX'  '"°'"'''  ""^  ^***  achievements,  by  comparing  her 


"  Stay,  stay  thy  hands ;  thou  art  an  Amazon 
And  fightest  with  the  sword  of  Deborah." 

All  Bible  readers  know  that  Deborah  was  a  woman  of  great  note  in 

of  Lapidoth.  •  who  was  associated  with  Barak  against  Sisera  in  a  tri- 
umphant attack  which  brought  freedom  from  forei^i  oppr  s^S,    m 
in  a  smgle  line,  the  great  dramatist  compares  the  "Maid  of  Orlean   " 
wuh  the  only  woman  in  Scripture,  or  perhaps  in  all  history.  who^X- 

:?^  hf  l;  ::i°-  °^  *^  ^"^  -  ^»°<^-  sp^ch^orthTSj 

'The  wonderful  saviour  of  her  countv    "!«..,  -.«   a„»  . 
Shakspeare  with  an  EnglishmanrprSs  •  itThe  at  fi?,'  ,"  '^"T'!.  ^' 
whether  she  has  not  in  reality  a  heavwlv  m?«inn      ^  ^''^  '*  ''°"'"^"' 

Dramatic  Literature,  A.  W.  Schlegel.  ""iBunay  to  the  French  cause." 

I  Judges  4^.  'Tennyson. 

*If,  as  some  claim,  the  sketch  of  Joan  was  worlceH  info  *u  i  i. 
other  hand  than  Shakspeare's  these  r««?ksTou^d  S  Tl  ^'^  ^?  '°'"' 
Mr.  Mabie-s  able  articles,  published  inThe  O^o^  XThfaL "^  "^''''-  '" 
he  says:  "It  is  diflScult  to  find  his  (ShaksoearelrhVnT  fi.  J  *"*  *""'"■ 
presentation  of  Joan  of  Arc.  ^.Js^^ZLJt  ttZT.1^^  '^^  '='"1" 
great  career;  his  insight  would  have  saved  L  f rom^ ;;otVbird:' "'"'  "'  * 


54  RELIGIOUS  WORLD  OP  SHAKSPBARB 

".  .  .  This  land  shall  be  called 
The  field  of  Golgotha  and  dead  men's  skulls." 

A  reUgious  imposture,— a  so-called  miracle,  captures  the  credence  and 
sympathy  of  King  Henry  VI.  In  referring  to  this  sham,  Shakspeare 
weaves  mto  the  pla.,  a  very  obvious  reference  to  the  miracle  of  healine 
of  the  bhnd  man,  recorded  in  St  John's  gospel :— 

One.  A  miracle  I  a  miracle  I 

Suf.  Come  to  the  king:  tell  him  what  miracle. 

One.  Forsooth,  a  blind  man  at  Saint  Alban's  shrine, 
Within  this  half  hour  hath  receiv'd  his  sight; 
A  man  that  ne'er  saw  in  his  life  before. 

K.  Hen.  Now,  God  be  prais'd,  that  to  believing  souls 
Gives  light  in  darkness,  comfort  in  despair! 

Car.  Here  come  the  townsmen  on  procession. 
To  present  your  highness  with  tfie  man. 

K.  Hen.  Great  is  his  comfort  in  this  earthly  vale. 
Though  by  his  sight  his  sin  be  multiplied. 
Good  feilow,  tell  us  here  the  circumstance. 
That  we  for  thee  may  glorify  the  Lord. 
What!  hast  thou  been  long  blind,  and  now  restor'd? 

Simp.  Bom  blind,  an't  please  your  grace. 

Wife.  Ay,  indeed,  was  he. 

Suf.  What  woman  is  this? 

Wife.  His  wife,  an't  like  your  worship. 

K.  Hen.  Poor  soul !   God's  goodness  hath  been  great  to  thw: 
Let  never  day  nor  night  unhallow'd  pass, 
But  still  remember  what  the  Lord  hath  done. 

nHen.VI.i:i. 

One  of  the  most  finished  of  the  works  of  Shakspeare  (which  is  thoueht 
by  some  to  have  been  his  last)  is  the  allegorical  pUy  of  The  Temp^ 
Accordmg  to  some  authorities  the  Poet  drew  some  of  his  material  for 
this  masterly  work  from  the  circumstances  of  a  terrible  tempest  which 
overcame  a  fleet  of  nine  ships,  leaving  England  in  May,  1609.  one  of 
which  was  afterwards  reported  from  the  Bermuda  Islands  (see  Hud- 

whicl,  Sk*?""*'"'  "^  **  Tempest).    This  date  agrees  with  the  time  at 
which  Shakspeare  wrote  the  play,  or  thereabouts. 

But  whatever  may  have  been  the  original  source  of  the  Poet's  plot  it 
IS  certam  that  much  of  its  thought  and  language  were  suggested  to  his 


VBRSATIUTY  IN  USB  OP  BIBLB  5, 

Sf PauL!Stl,?M  '  /J'd*^.'^  ''*  ^  '"^^^y  «  "^^  *«  wreck  of 
fnH^nf  •  n^u  °^  ^*''**'-'^t»««  the  description  in  Acts  xxvii.. 

«d  note  especully  the  34th  verse:    "  There  shall  not  «.  A«r  faU  from 
the  head  of  any  of  you. 

And  then  read  Shakspeare's  words  :— 

"  there  is  no  soul 
No,  nor  so  murh  perdition  as  an  hair 
Betid  to  any  creature  in  the  vessel." 

Tempest  i:  2. 

"N^^riL^rSy/'**  *****  """""^  "'*'  *"'  ^"*'  **"'  ^'""P*"^  *** 
'^"di^ne^Snt"'"'  "  "°*  ^'  **  "•'°«^"  ^^P^^  ^*P'«». 

In  Ths  Tsmpmt  Ariel  is  the  Chief  Minister  of  Prospero-a  myste- 
roS'f^::r"'*'^'-^-    Wn^re  did  the  Poet  ^drsS^ 

A^*rr^.?u*'?  '*"*'*^°"  "  '*^°**  ^  *•«  '»o'^  of  Isaiah:    "Woe  to 
And.  to  And  the  dty.  .  .  Yet  will  I  distress  Ariel  and  th«e  shS^te 

»ni^i,   K^^   ^*"  *"**  ''**'*  'P**^  «»*  °f  the  ground,  and  thy 
^  shaU  be  low  out  of  the  dust,  and  thy  voice  shallbe  S  ^e  tS^ 

^fof  SlT'ST'^r  °1*T°""''  *"**  *y  »P-*  shaU  whis^ 
out  of  the  dust  .  .  Thou  shalt  be  visited  of  the  Lord  of  hosts  w^ 

^:t7J:^.Ttf'''  "'  ""**  "°'"'  "'*"  '*'*""  -d  tT^^st^* 
exWhi^  Poet's  'art  the  passage  of  thought  from  Ariel,  the  city-^ 
exhibition  of  divine  justice,  to  Ariel,  a  spirit  of  the  air  with  a  J^ 
mission  was  simple  and  easy,  while  the  entire  conception  of  IhaLJS^I 
Anel  IS  suggested  in  the  above  quotation  from  IsSah         '"'^^'^  ' 

PK^'^^iTys.!?'*^  "^'^  ""'  "^"^^  ~^"  -  Th,  T«m- 
lished  in  PhiUdelphi.  in  iftT  Mr  R:rr  »  i-^''*?*'"  "'*  t^'  ^*"*'"  »«•»- 
of  Mdita."  -"unwiy.  Dienaed  with  St  Paul  s  shipwreck  on  the  Island 


|9  REUGIOUS  WORLD  OP  SHAKSPBARS 

"  111  yield  him  thee  asleep 
Where  thou  may'st  knock  a  nail  into  his  head,"  j  •  as, 

an  evident  allusion  to  Jael's  deed  as  described  in  Judges  iv. 
When  Prospero  says : — 

"  The  cloud-capped  towers,  the  gorgeous  palaces. 
The  solemn  temples,  the  great  globe  itself. 
Yea,  all  which  it  inherit  shall  dissolve. 
And,  like  this  insubstantial  pageant  faded 
Leave  not  a  rack  behind,"  ^:  7. 

we  naturally  recall  the  words  of  I  Peter  iii:io,  11. 

All's  Well  that  Ends  Well  furnishes  further  illustrations  of  the 
use  of  Scripture.  When  the  King  of  France  answers  Helena's  plea  that 
he  will  try  her  deceased's  father's  remedy  for  the  disease  which  afflicU 
hun,  the  King  says : — 


I 


"  We  thank  you  maiden ; 
But  may  not  be  so  credulous  of  cure. 
When  our  most  learned  doctors  leave  us." 

Helena  replies  in  the  terms,  and  almost  the  very  language,  of  Scrio- 
ture: —  *^ 


flir    t: 


"  He  that  of  greatest  work  is  finisher 
Oft  does  them  by  the  weakest  minister: 
So  holy  writ  in  babes  hath  judgment  shown. 
When  judges  have  been  babes." 

And  when  the  King  opposes  her  argument  she  answers  :— 

"  Inspired  merit  so  by  breath  is  barr'd ; 
It  is  not  so  with  Him  that  all  things  knows. 
As  'tis  with  us  that  square  our  guess  by  shows; 
But  most  it  is  presumption  in  us,  when 
The  help  of  Heaven  we  count  the  act  of  men." 

Alls  Well  2: 7. 


VSRSATIUTY  IN  USB  OP  BIBLB.  .    ^ 

The  maiden's  eloquent  earnestneu  eventually  wins  the  King's  consent 
to  try  the  remedy.  When  a  cure  is  eflFected,  all  are  amaxed,  and  a  cour- 
tier remarks:—"  They  say  miracles  are  past.  .  .  he's  of  a  most  fadnor- 
ous  spint  that  will  not  acknowledge  it  to  be  the— very  hand  of  Heaven  " 

In  the  same  play  (All's  Well  i  .-3)  a  down  makes  a  witty  answer  to  a 
Countess,  thus :  "No,  madam,  tis  not  well  that  I  am  poor  though  many 
of  the  rich  are  damned."  This  is,  without  doubt,  an  allusion  to  the 
Scripture  saying:  "How  hardly  shall  a  ridi  man  enter.the  kingdom  of 
Heaven." 


In  CvMBEUNE  we  notice  a  reference  to  the  doctrine  that  suffering  and 
pumshment  are  related,— the  one  to  the  other  :— 

"  Will  poor  folks  lie 
That  have  affliction  on  them ;  knowing  'tis 
A  punishment,  or  trial."  j;(j. 

In  the  play  of  OTHia,M)  an  allusion  is  made  to  certain  Calvinistic  doc- 
tnnwj  prevalent  in  Shakspeare's  time.  Cassio  is  drunk,  and  he  speaks 
m  that  half-intelligible  sense  which  often  marks  a  man  of  education 
when  drunk:  "Heaven's  above  all;  and  there  be  souls  be  saved  and 
there  be  souls  must  not  be  saved." 

These  trifling  and  sometimes  irreverent  references  to  Scripture 
themes  which  we  find  current  in  the  language  of  certain  characters  in 
Shakspeare  are  natural  and  reasonable.  Bible  talk  was  so  common  in 
his  daythat  It  was  subject  to  all  sorts  of  confused  and  absurd  paraphras- 
mg.  The  Poet  does  not  represent  frivolous  characters  as  talking  with 
reverence  of  holy  subjects,  or  as  quoting  the  Scriptures  with  accuracy 
and  fitaess;  yet  he  could  not  portray  them  fully,  as  he  has  done,  had  he 
omitted  these  misappropriations  of  biblical  passages  and  thought  Many 
passages  of  Scripture  are  lightly  and  irreverently  employed,  but  always 
by  sudi  characters,  and  under  such  drcumstances,  as  might  be  expected 
For  example,  in  act  3  of  the  Comedy  op  Errors  some  men  appear  on 
the  stage  ;-a  courtesan  enters  and  the  following  conversation  ensues  :- 

Ant.  S.  Satan  avoid !  I  charge  thee,  tempt  me  not ! 
Dro.  S.  Master,  is  this  mistress  Satan? 
Ant.  S.  It  is  the  Devil. 

Dro  S.  It  is  written,  they  appear  to  men  like  angels  of  light 
.  .  .  marry,  he  must  have  a  long  spoon  that  must  eat  with  the  Devil. 


*  RMUCIOUS  WORLD  OF  SHAKSPBARB 

In  the  same  play  is  this  allusion  to  the  New  Testament  «<»«,.„»  ^t 
Christ  commanding  the  Devil  to  depart  f«xn  rmw!!^*  •*~"*  *' 


"I  charge  thee,  Satan,  hous'd  within  this  man 
To  yield  possession  to  my  holy  prayers." 


4-4- 


In  AtL's  Wei.1,  that  Ends  Wbu.  there  is  a  speech  in  which  SrWo. 
tural  figurative  terms  are  mixed  up  in  a  strange  IdX  umbte  y^"^ 
way  that  .s  consistent  with  the  character  of  the  clown  w  JmS;rit:- 

"I  am  a  woodland  fellow,  sir.  that  always  loved  a  great  fire •  and  th» 

^ZorH^JiTuT*'^'"'    Butsureh^TStS^pri'lof 
this  world.*  let  his  nobility  remain  in  his  court.    I  am  for  the  hou*. 

some  that  humble  themselves  may;  but  the  many  will  bTtoo  chiiniS 

rdt;aS-^ '-  "-/^^  ^y '  ^^  ^^  to  tX^'^'. 

oc^;:Ki:ro7HL":;T^^  ^oi, 

verjjation  takes  place  m  Mrs.  Q^^lyTZ^^^t  whe^*^ 
gathered  a  few  of  the  foUower.  of  the  "un«»v^  knight^^'  ^ 

or 'if  t^ll"^""  '  "*"'  "'^  ""'  where«»ne'er  he  is.  either  in  heaven. 

Quick.  Nay.  sure,  he's  not  in  hell:  he's  in  Arthur's  hoi»m   {*  -„ 
m«i  went  to  Arthur's  bosom.   A  'made  a  fin'e^^d  w^v;ay  Zl 


•John  ia:3i.  and  14:30.     'Matt 


7:13.  14-    *Job  14:2  and 


'Matt  25:41. 
James  i:  10,  11. 

wiiSlt^onlh^S'Xlr^  ttSs^.oi  fT^'''  T  -•'  '•»*  *«• 

cloth  put  upon  the  child  at  bamism  ,, M  .  1  T,  •  '*'?*""•  "^^'"^  '^^  «  ^^te 
outlive  the  first  month  K™  w^s  S  171^  'T^'J"  ^  ''  '"'"  -* 
pointing,  which  made  a  part  ofTapul  S^  i  p  ^  '""*'"'  ""»  "'  ** 
Hudson's  Shakspeare.  ^         ^^^'^  *^  RefonnaUon.    Footnote  m 


VBRSATIUTY  IN  USB  OP  BIBLB  ^ 

now  I,  to  comfort  him,  tnd  him  »'  should  not  think  of  God;  I  hop'd 
there  was  no  need  to  trouble  himself  with  any  such  thoughts  yet."  * •» 
This  is  a  perfectly  natural  speech  coming  from  such  a  source  at  sudi 
a  tune.  The  woman  (Quickly)  had  been  awed  by  the  death-scene,  and 
memories  of  her  early,  crude,  religious  education  were  recalled.  She 
remembered  the  parable  of  the  Rich  Man  and  Uarus,  although,  in  her 
Ignorance,  she  spoke  of  "Arthur's  bosom"  instead  of  Abraham's  and 
she  had  a  confused  memory  of  the  twenty-third  Psalm,  while  FalsUff 
"babbled  of  green  fields." 

Inthe  ptay  of  Antoky  and  CtBOPATRA  are  several  references  to 

Herod  of  Jewry.    An  Egyptian  woman  named  Charmian  says:    "Let 

me  have  a  child  at  fifty  to  whom  Herod  of  Jewry  may  do  homage."    It 

was  Herod  of  Jewry  (Herod  the  Great)  whose  fear  of  the  young  child 

Jesus  led  hun  to  inquire  of  the  Wise  Men  of  the  East  and  say  to  them 

Go,  and  search  diligently  for  the  young  child ;  and  when  ye  have  found 

hun  bnng  me  word  again  that  I  may  come  and  worship  him  also  "    It 

was  to  Egypt  that  the  mother  of  Jesus  fled  with  her  babe  to  escape  from 

tlie  hand  of  Herod.   Commenting  upon  this  play,  Steeven  says :  "Char- 

^^  mun  wishes  for  a  son  who  may  arrive  to  such  power  and  dominion 

that  the  proudest  and  fiercest  monarch  of  the  earth  may  be  broueht 

under  hu  yoke."  * 

The  death  of  Antiochus  in  the  play  of  PraictES  very  forcibly  reminds 
us  of  the  death  of  King  Herod  as  may  be  seen  in  the  parallel  of  the  fol- 
lowing passages: — 

"And  upon  a  certain  day  Herod,  arrayed  in  royal  apparel,  sat  upon 
ms  throne,  and  made  an  oration  unto  them.  And  the  people  rave  a 
shout  saying,  it  is  the  voice  of  a  god,  and  not  of  a  man.  And  imme- 
dmtely  the  angel  of  the  Lord  smote  him,  because  he  gave  not  God  the 
glory:  and  he  was  eaten  of  worms  and  gave  up  the  ghost." 

Acts  xii,  it:  gj, 

Hel.  No,  Escames;  know  this  of  me, 
Antiochus  from  incest  liv'd  not  free : 
For  which  the  most  high  gods,  not  minding  longer 
To  withhold  the  vengeance,  that  they  had  in  store, 
Due  to  this  heinous  capital  offence; 
Even  in  the  height  and  pride  of  all  his  glory, 
When  he  was  seated  in  a  chariot  of 


RBUGIOUS  WORLD  OF  SHAKSPBARB 

An  inettttnable  value,  and  his  daughter 
With  him,  a  fire  from  heaven  came  and  ihriveH'd  up 
Those  bodies,  even  to  loathing;  for  they  so  stunk. 
That  all  those  eyes  ador'd  them  ere  their  fall, 
Scorn  now  their  hand  should  give  them  burial. 

Bsca.  'Twas  very  strange. 

Hel.  And  yet  but  justice;  for  though 

This  king  were  great,  his  greatness  was  no  guard 
To  bar  heaven's  shaft,  but  sin  had  his  reward. 


*-4- 


In  Act  5,  Scene  i,  of  Msasurx  for  Mbasuiw,  when  IsabelU  presses 
for  justice  one  is  reminded  of  the  parable  of  the  importunate  widow  in 
l,uke  xviii: — 


"  O  worthy  prince,  dishonor  not  your  eye 
By  throwing  it  on  any  other  object. 
Till  you  have  heard  me  in  my  true  complaint 
And  given  me  justice,  justice,  justice,  justice!" 

In  the  Merchant  op  Venice  Shylock  expresses  his  contempt  for 
Launcelot  with  a  Scripture  figure : — 

"  What  says  that  fool  of  Hagar's  offspring?" 

And  when  the  Jew  whets  his  knife  to  cut  the  Merchant's  flesh  the 
Poet  makes  the  witty  Gratiano  say : — 

"  Not  on  thy  sole,  but  on  thy  soul,  harsh  Jew, 
Thou  mak'st  thy  knife  keen ;  but  no  metal  can. 
No,  not  the  hangman's  axe,  bear  half  the  keenness 
Of  thy  sharp  envy.   Can  no  prayers  pierce  thee?"     4:1. 

These  allusions  are  often  so  subtle  that,  as  Sprague  says,  "we  who 
know  less  of  the  Scripture  are  sometimes  slow  to  catch  them."  See  for 
instance  how  Shakspeare  uses  the  word  "  manna."  Fair  ladies  you  drop 
manna  on  the  way  of  starved  people  5:1.  Evidently  he  alludes  to  the 
provision  of  manna  for  the  starving  Israelites. 

Even  the  clownish  Launcelot  quotes  the  Scriptures:— 

"  The  sins  of  the  father  are  to  be  laid  upon  the  children."     j;  5. 


VBRSATIUTY  IN  USE  OP  BIBIB  fg 

In  MiMUlf  Mn  NiCHT's  Dmam  there  U  a  puody  on  Paul'i  eloquent 
words  in  I  Cor.  ii :  9.  Bottom,  the  weaver,  in  a  hidicrous  account  of  a 
dream,  says :  "The  eye  of  man  hath  not  heard,  the  ear  of  man  hath  not 
•een,  man's  hand  is  not  able  to  taste,  his  tongue  to  conceive,  nor  his 
heart  to  report .  what  my  dream  was,"  4:1.  Such  an  absurd  paraphra- 
sing of  that  sublime  passage  would  be  monstrous  if  it  were  dragged  into 
the  play,  but  it  is  so  consistent  and  so  natural  to  the  clownish  Bottom 
that  one  feels  that  it  is  neither  irrelevant  nor  irreverent 

These  are  but  a  few  illustrations  of  the  Poet's  versatile  employment 
of  th.'  Scriptures.  His  Biblical  allusions  are  found  in  every  page  of  his 
greater  plays  and  his  poems  constantly  reveal  some  spiritual  thought. 
One  cannot  read  any  of  his  works,  with  an  open  mind,  without  being  fre- 
quently surprised  with  a  gem,  hitherto  undiscovered  and  the  Bible  ia 
very  frequently  its  source. 

Many  persons  wonder  that  Shakspeare  did  not  more  fully  and  literally 
quote  Scripture,  but  almost  invariably  alludes  to  it  and  expresses  its 
thoughts  and  teachings  in  .his  own  words.  In  this  respect  the  Poet 
treated  Scripture  as  he  did  all  other  literature.  He  very  rarely  quoted 
anything,  but  of  all  that  his  mind  was  familiar  with,  he  unconsciously 
wove  into  the  text  of  his  writings  in  his  own  language. 

The  author  of  a  recently  published  book  makes  a  suggestion  whfch  is 
of  interest  in  this  connection:  "With  peculiar  care  and  delicacy  he 
'  (Shakspeare)  avoids  quoting  the  text  of  Scripture,  lest  he  should 
'  incur  the  reproof  of,  or  offend  the  clergy,  and  thus  defeat  his  happy 
I'  purpose  of  pointing  to  the  Word  of  life.  He  therefore  ingeniously 
"  endeavors  to  awaken  the  curiosity  of  the  ignorant,  and  enliven  the 
''  devout  intelligence  of  Scripture  readers  and  all  church  members  by 
"  his  method  of  application.  In  his  Poems  he  pursues  an  ei  Irely  differ- 
'  ent  course,  abstaining  from  an  open  reference  to  Bible  figures  incident 
'^  to  its  teachings,  he  breathes  out  spiritual  truth  in  figurative  language 
"  full  of  devout  aspirations,  presenting  out  of  his  own  secret  experience, 
"  the  corruption  of  the  natural  heart  and  the  discovered  remedy  in  the 
new  man,  Christ  Jesus."* 

If  the  student  of  the  Bible  and  of  Shakspeare  will  keep  in  mind  the 
suggestion  of  this  short  chapter  he  will  find  that  in  many  of  the  Poet's 
works.  Scripture  allusions  may  be  seen  shining  out  on  every  page,  as 
one  may  see  stars  in  the  heavens  which  do  not  appear  to  the  «i«iial 
observer. 


•Christ  in  Shakspeare.    By  Charles  EUis,— (London,  1897). 


II 

TYPBS  OP  CHARACTBR  FROM  SCRIPTURB 

Whether  or  not  Shakspcare  sought  for  hit  types  in  the  BiUe  H  is 
certain  that  there  is  a  striking  similarity  in  many  of  them;  as  seen  in 

lin^^w  ^!*1  ^'****«^  ^'  J"*^  ""«*  ««^  «te. 
And  many  of  his  typical  characters  and  Ulustrations  wei«  drawn  from 

the  Scriptures.  He  selecte  a  Jew  to  represent  mercenary  meanneu  and 
vindictive  revenge,  and  a  Bible  character  is  emptoyed  to  furnish  the 
portrait  ShykKk  defends  his  trade  of  usury  by  Jacob's  trick  in  secur- 
uig  for  hunself  the  better  portion  of  his  uncle  Laban's  flock.  This  be 
claims  as  a  perfect  example,  for  he  says:— 

"  When  Jacob  grai'd  his  uncle  Laban's  sheep, 
This  Jacob  from  our  holy  Abraham  was 
As  his  wise  mother  wrought  in  his  behalf 
The  third  possessor;  ft,   he  was  the  third." 

M«r.  of  V«n.  j:^, 

Jacob  is  Shytock's  pattern  and  saint ;  by  him  he  swears :  "By  Tacob's 
staff  I  swear."  '  '^^ 

In  the  opoiing  words  of  the  play  Antonio  expresses  a  sense  of  sad- 
ness which  he  seems  to  be  unable  to  account  for;  but  his  friends  think 
that,  with  all  his  wealth  and  interests  "tossing  on  the  ocean,"  he  may 
weU  be  troubled.    Salarino  says :—  ^^  ^ 

"  Believe  me.  Sir,  had  I  such  venture  forth. 
The  better  part  of  my  affections  would 
Be  with  my  hopes  abroad.  .  .  . 
•  .  .  Should  I  go  to  church 
And  see  the  holy  edifice  of  stone, 
And  not  bethink  me  straight  of  dangerous  rocks. 
Which,  touching  but  my  gentle  vessel's  side, 
Would  scatter  all  her  spices  on  the  stream  ?"        /  •/ 


TYPBS  OP  CHARACTBH  PROM  SCKIPTVKM  «] 

"  Repent  not  that  yoa  •hall  loae  your  friend, 
Andberep'      >*  that  he  pays  your  debt; 
For,  if  the  J  L ,/  'Jo  cut  bt'»  deqi  enough, 
mpayiu'    i,M    r".    ,iln    heart."        |;/. 

dief^t-V  ;^^ '^  »8'^^  '    on  c       e  King.  find.  GuMeriu.  in 

uLs       ^'  "r     '^^  '"  '"  ^"^'^^^     .w  a  «>n  of  the  King,  but 

^j;^-;;;^  ;  -.   .  t...  .y.e  .f  a  bully :    "What  .Uve  art 

To  which  the  youni?  nur  ecu;  .  ojr'y  answers: 

"Those  that  I  tcvwcnce,  those  I  fear;  the  wise. 
At  fools  I  laugh,  not  fear  them," 

Attacking  him  with  his  sword,  Cloten  boastfully  exclaims:— 

wk     TV        ..  "Diethedeath: 

WTien  I  have  shin  thee  with  my  own  proper  hand. 
Ill  follow  those  that  even  now  fled  hence. 
And  on  the  gates  of  Lud's  town  set  your  heads." 

They  retire  from  the  scene  fighting,  and  in  short  order  Guiderio. 
returns,  beanng  the  boastful  prince's  head,  and  says :-         ^""^" 


WI.UV  "Withh 

Which  he  did  wave  against  my  throat. 
His  head  from  him." 


•Jwn  sword 
lave  ta'en 

Cymb.  4:1. 


A  more  generally  recognized  draft  upon  the  Bible  for  tvoea  o*  rh»^ 
.cter  IS  found  in  the  play  of  Macbeth,  ^ich  is  tnit^afSie  1^1" 
m  the  chapter  on  "  Tragedy  in  the  Bible  and  Shakspe^e/'  ^^ 

The  play  of  Hamw  stand,  alone.    It  is  the  crowning  study  of  the 
great  Shakspeare.    It  has  no  parallel  in  all  literature.    iSmTet  himsdf! 


d 


I 


'    i 


<»  RBUGIOUS  WORLD  OF  SHAKSPBARB 

as  Shakspeare  painted  liitn,  is  more  than  a  t}rp« ;  ht  is  multi-type.  H« 
is  the  problem  of  mankind,-4he  human  mystery  personlned.* 

There  is  no  other  single  character  in  all  literature  about  whom  critics 
differ  so  widely,  and  it  seems  probable,  as  Schlegel  suggests,  that  every 
new  student  of  this  colossal  sphinx  will  differ  with  all  others  "  in  his 
view  of  the  connection  and  the  significance  of  all  the  parts."  On  the 
one  question,  of  the  "madness"  of  Hamlet,  the  ablest  of  critics  differ  as 
widely  as  possible.  Lowell  says :  "If  Hamlet  is  irresponsible  the  whole 
is  chaos;"  while  Hudson  says:  "In  plain  terms  Hamlet  is  mad." 
Richard  Grant  White  says:  "Nothing  should  be  kept  more  clearly  in 
mind  than  that  from  the  time  we  hear  of  him  (Hamlet)  until  his  death 
he  was  perfectly  sane,  and  a  man  of  very  clear  and  quick  intellectual 
perceptions — one  perfectly  responsible  for  his  every  act  and  every  word ; 
that  is,  as  responsible  as  a  man  can  be  who  is  constitutionally  irresolute, 
purposeless,  and  procrastinating."  Coleridge  says:  "Hamlet's  wild- 
ness  is  but  half  false."  Mr.  Snider  has,  we  think,  stated  the  case  cor- 
rectly when  he  says:  "Hamlet's  insanity  is  feigned,  his  immediate 
object  being  to  deceive  Polonius  and  the  court,  in  order  that  he  might 
more  surely  pursue  his  greater  and  more  ultimate  object — ^the  discovery 
and  punishment  of  the  King's  guilt.* 

Of  all  the  great  characters  of  Shakspeare,  Hamlet  was  the  most  nega- 
tive in  the  realm  of  faith.  As  Lowell  says,  he  "is  the  most  eminently  a 
metaphysician  and  psychologist."  Yet,  we  notice  that  Hamlet  is  con- 
stantly standing  on  holy  ground.  He  is  ever  near  the  mysterious  and 
the  profoundly  religious.  Even  in  his  most  skeptical  moods  he 
impresses  us  more  with  the  realities,  which  he  doubts,  than  he  could  do, 
if  he  declared  himself  a  believer  in  them.  Death  and  Immortality  are 
constantly  in  view.    (See  Chap.  7.) 

Whatever  other  material  Shakspeare  had  in  his  possession  when  he 
produced  this  masterly  portrait,  we  may  see  that  he  drew  largely  from 
Scripture.  The  whole  play  abounds  in  allusions  which  cannot  be  mis- 
taken. 

The  religious  and  philosophic  aspects  of  Hamlet  find  a  counterpart 
in  some  of  the  characteristics  of  Job.    Very  much  of  the  tone  and  color 

•The  drama  is  severe.  Truth  doubts  it  Sincerity  lies  in  it  Nothing  mors 
vast,  nothing  more  subtle.  In  this  tragedy,  which  is  at  the  same  time  a  phil- 
osophy, all  is  fluid,  all  hesitates,  delays,  wavers,  is  decomposed,  scattered,  dissi- 
pated, the  thought  is  mist,  the  will  is  vapor,  resolution  crepuscular,  the  action 
changes  every  instant,  the  compass  rules  the  man.  .  .  .  Hamlet  is  the  chtf- 
d'oeuvre  of  tragedy  dreaming."    Victor  Hugo. 

•The  Shakspeare  Drama.    Denton  I.  Snider. 


jif  .,  t    i 


TYPES  OF  CHARACTER  PROM  SCRIPTURE  6$ 

of  Hamlet's  dress  and  speech,  in  his  more  serious,  as  well  as  in  his 
cynical  moments,  are  like  those  of  Job.  The  speech  of  Hamlet  to  hi» 
two  friends  would  sound  quite  natural,  if  addressed  by  Job  to  his  "com- 
forters." And  it  is  noticeable  that  the  idea  of  acting  the  part  of  watch- 
ful counselors  was  much  the  same  in  both  cases.  Rosencrantz  and 
Guildenstem,  two  friends  of  Hamlet,  are  directed  by  the  King  to  watch 
the  prince  in  his  strange  moods  and  doubtful  actions,  and  it  is  in  con- 
nection with  these  that  Hamlet  offers  some  of  the  profoundest  wit  of 
the  play. 

So  likewise  Job's  three  friends,  Eliphaz,  Bildad  and  Zophar,  "made 
an  appointment  together"  to  watch  and  comfort  Job  in  his  strange 
affliction  and  it  was  in  their  conversations  that  we  find  many  of  the  pro- 
found utterances  which  abound  in  the  Book. 

To  his  "friends"  Hamlet  says :  "Why,  look  you  now,  how  unworthy 
a  thing  you  make  of  me.  You  would  play  upon  me ;  you  seem  to  know 
my  stops;  you  would  pluck  out  the  heart  of  my  mystery;  you  would 
sound  me  from  my  lowest  note  to  the  top  of  my  compass."        j:  ^. 

To  his  "  friends  "  Job  says :— "  Do  ye  imagine  to  reprove  words,  and 
the  speeches  of  one  that  is  desperate,  which  are  as  wind?"  And  again 
he  asks :    "Am  I  a  sea  or  a  whale  that  thou  settest  a  watch  over  me  ?" 

It  is  significant  that  Hamlet  uses  the  same  figure  (a  whale)  in  his 
parry  with  Polonius,  occurring  immediately  after  the  conversation  from 
which  the  above  quotation  is  taken.  And  again,  when  Job  in  his  satire 
says :  "  No  doubt  but  ye  are  the  people,  and  wisdom  shall  die  with  you  " 
we  have  one  of  tho;.e  sayings  that  is  so  much  like  Hamlet  that  it  has 
been  quoted  as  his. 

Hamlet  was  a  man  of  moods— overweighted  with  a  sense  of  responsi- 
bility and  care ;  and  there  were  times  when  this  also  was  true  of  Job.  In 
his  great  sorrow  Job  cries  out  to  be  hidden  in  the  grave,  and  exclaims: 
"If  a  man  die  shall  he  live  again  ?"  And  Haml'jt  puts  the  same  question 
m  another  form  in  that  well-known  exclamation,  "To  be,  or  not  to  be 
that  is  the  question."  * 

With  a  fine  appreciation  of  man's  nobility  and  majesty  of  character 
Hamlet  exclaims :  "What  a  piece  of  work  is  a  man !"  At  another  time 
his  thought  took  opposite  direction,  as  to  the  baser  and  sensuous  quali- 
ties of  man,  and  he  inquires : — 


"  What  is  a  man 
If  his  chief  good,  and  market  of  his  time, 
Be  but  to  sleep  and  feed?  a  beast,  no  more." 


\'  I 


tf  RBUGIOUS  WORLD  OF  SHAKSPBARE 

He  recognizes  God's  purpose  in  relation  to  man,  for  he  adds:— 

"  Sure  He  that  made  us  with  such  large  discourse 
Looking  before  and  after,  gave  us  not 
That  capability  and  godlike  reason, 
To  fust  in  us  unused."  4: 4. 

We  find  the  parallel  of  this  in  Job's  noble  exclamation :  "WTiat  is 
man  that  thou  shouldest  magnify  him?  and  that  thou  shouldest  set  thine 
heart  upon  him?"  Job  vii.  17. 

In  the  final  result  there  is  no  parallel,  but  an  opposite,  in  Hamlet  and 
Job.  Hamlet  comes  to  the  inevitable  failure  of  a  life  unbalanced  and 
undirected.  His  mind  constantly  reverted  to  the  verities  of  religr»ti,  but 
he  had  no  positive  faith  in  God.  He  was,  as  a  n(*le  ship  ithout 
anchor,  and  without  a  port.  He  takes  vengeance  in  his  own  hand  and  is 
controlled  by  a  leaning  to  fate.  Even  the  Scriptural  doctrine  of  Provi- 
dence he  twists  into  an  argument  of  fatalism.  He  says:  "There's  a 
special  providence  in  the  fall  of  a  sparrow."  But  he  treats  this  doctrine 
as  an  utterance  of  the  inevitable,  and  adds:  "If  it  be  now,  'tis  not  to 
come ;  if  it  be  not  to  come,  it  will  be  now ;  if  it  be  not  now,  yet  it  will 
come."        5: 2. 

But  Job,  who  is  sometimes  on  the  verge  of  despair,  yet  ever  rises.  He 
says:  "My  soul  is  weary  of  my  life."  In  his  gloom  he  is  on  a  level 
with  Hamlet's  cry  of  "The  undiscovered  country,  from  whose  bourn  no 
traveller  returns — "  for  he  says,  "Before  I  go  whence  I  shall  not  return, 
even  to  the  land  of  darkness  and  the  shadow  of  death."  But  he  rises 
out  of  this  darkness  into  the  full  light:  "For  I  know  that  my  Redeemer 
liveth." 

It  is  true  that  one  may  scan  the  plot  A  this  marvelous  creation  of 
Shakspeare's  without  perceiving  these  spiritual  truths  and  analogies, 
yet,  we  think,  no  one  can  study  it,  in  any  of  its  parts,  without  finding 
gems  of  Scripture  truths  in  every  page  of  it. 

This  chapter  serves  to  emphasize  the  fact  of  cur  Poet's  drafts  upon 
the  Bible  for  character-types ;  but  further  illustrations,  such  as  Ahab  and 
Jezebel,  as  suggestive  of  Macbeth,  and  Ariel  in  the  Tempest  will 
be  found  in  the  other  chapters  of  Book  III. 


Ill 


HEROES  AND  HEROINES 

It  is  remarkable  that  he,  whose  perception  of  character  was  so  acute, 
has  no  great  moral  heroes.  There  are  many  men  in  his  dramas  who 
display  certain  moral  qualities  in  an  eminent  degree,  but  as  Ruskin  says : 
"Shakspeare  h  ,5  no  heroes ;  he  has  only  heroines."* 

Antonio  is  a  merchant  of  the  strictest  honor  and  integrity:  he  is  pre- 
pared to  die  by  the  sharp  blade  of  the  insatiate  Jew,  for  the  honor  of  his 
bond  and  the  love  of  his  friend. 

But  Antonio,  who  has  a  heart  stout  enough,  and  a  friendship  pure 
enough,  even  to  die  for  his  friend,  is  not  a  harmonious  moral  hero.  His 
love  IS  restricted  to  his  friends.  He  indulges  in  race  prejudice  and  is 
bitter  in  hatred  towards  his  enemy  which,  in  some  measure,  excuses  the 
vmdictiveness  of  Shylock.  When  he  goes  to  sign  the  bond,  in  order 
that  his  friend  may  have  the  present  loan,  Shylock  accuses  him  of  con- 
duct the  very  reverse  of  the  Christian  rule:— 

"  You  call  me— misbeliever,  cut-throat  dog. 

And  spet  upon  my  Jewish  gaberdine, 

And  all  for  the  use  of  that  which  is  mine  own. 

Well,  then,  now  it  appears  you  need  my  help: 

Go,  to,  then ;  you  come  to  me,  and  you  say, 
'  Shylock,  we  would  have  monies :'    You  say  so ; 

You,  that  did  void  your  rheum  upon  my  beard. 

And  foot  me  as  you  spurn  a  stranger  cur 

Over  your  threshold :  .  .  . 

.  .  .  You  call'd  me  dog." 

Antonio  acknowledges  the  truth  of  this  charge,  but  not  with  humil- 
iation or  regret.  He  seems  to  glory  in  it,  as  of  conduct  of  which  he  has 
reason  to  be  proud.    He  says : — 

'Sesame  and  Lilies. 


mmma 


HIW 


m  RELIGIOUS  WORLD  OP  SHAKSPBARB 

"  I  am  as  like  to  call  thee  so  again. 
To  spet  on  thee  again,  to  spurn  thee,  too. 
If  thou  wilt  lend  this  money,  lend  it  not 
As  to  thy  friends.  .  .  . 
But  lend  it  rather  to  thine  enemy."  1:3. 

Out  of  this  strange  interview  comes  the  still  more  strange  contract  of 
the  "pound  of  flesh."   And  when  Shylock  demands  the  bond,  he  says  :— 


I  have  sworn  on  my  oath  that  I  will  have  my  bond 
Thou  cnll'dst  me  dog  before  thou  had'st  a  cause." 


3:3- 


Certainly  Antonio  laid  himself  open  to  this  retort.  It  was  unworthy 
of  him,  as  a  Christian  merchant,  and  it  subjected  him  to  a  measure  of 
righteous  scorn  when  he  pleaded  for  mercy  at  the  hands  of  the  Jew. 
Moreover,  as  Ruskin  says,  "the  Merchant  of  Venice  is  languidly  sub- 
missive to  adverse  fortune." 

In  Shakspeare  all  the  Kings,  Cardinals,  Soldiers,  Knights  and  Priests 
are  men  of  great  faults.  Not  one  of  his  men  presents  a  perfect  or  har- 
monious moral  portrait,  while  most  of  them  are  personifications  of 
human  weaknesses  and  sins  and  crimes.  Brutus  is  great  in  some  of  his 
nobler  movements,  but  the  "noblest  Roman  of  them  all"  is  not  a  hero 
whom  one  might  command  as  a  type  and  an  example. 

But  the  Poet  saw  the  fine'  virtues  and  the  greater  qualities  of 
humanity,  and  did  not  fail  to  embody  them  in  his  gallery  of  portraits. 
They  are  found,  as  Ruskin  points  out,  in  his  female  characters.  The 
women  of  Shakspeare  are,  mostly,  the  very  soul  of  the  virtues.  In 
them  he  sets  forth  the  perfectly  balanced  haracter,  portraying  love — 
domestic  and  filial, — chastity,  tenderness,  patience,  forbearance,  and  even 
the  sterner  virtues  of  courage  and  endurance,  combined  with  wit  and 
skill. 

On  the  other  hand,  Shakspeare  saw  that  if  Woman  does  not  rise 
towards  the  purity  of  angels  she  may  sink  down  to  the  level  of  devils. 
And  yet  there  is  consistency  in  all  his  portraitures  of  female  character. 
Mrs.  Jameson,  in  her  "Characteristics  of  Women,"  remarks  on  this 
fact :  "When  we  read  in  history  of  the  enormities  of  certain  women, 
"  perfect  scarecrows  and  ogrresses,  we  can  safely,  like  the  Pharisee  in 
"  Scripture,  hug  ourselves  in  our  secure  virtue,  and  thank  God  that  we 
"  are  not  as  others  are — but  the  wicked  women  in  Shakspeare  are  por- 
•  "  trayed  with  such  perfect  consistency  and  truth  that  they  leave  us  no 


,;:mmm. 


HEROES  AND  HEROINES  69 

1  such  reiource-they  frighten  us  into  reflection— they  nwke  us  believe 

and  tremble.    On  the  other  hand,  his  amiable  women  are  touched 

^^  with  such  exquisite  simplicity-they  have  so  little  pretension»-and 

"  f  ?•  'u  ""'"''*  ^  "*"*'  ''*™'""  °*  ^^^y  *nd  romance,  that  they 
delight  us  more  'than  all  the  nonsense  of  the  beau-ideal.' " 
Shakspeare's  women  are  always  in  harmony  with  the  sex;  they  are 
never  unsexed.  whether  in  the  pursuit  of  a  heroic  moral  purpoi,  or 
moved  by  wicked  or  immoral  passions.  Sometimes  they  clothe  them- 
selves m  male  attire,  in  order  the  better  to  achieve  the  end  in  view,  or 
to  meet  the  danprs  of  travel  and  adventure;  but  when  they  do  so.  they 
are  uniformly  chaste  and  orderly  in  behavior.  Wicked  women  who  are 
the  very  embodiment  of  unadulterated  sin  are  yet  true  to  the  female 
instincts.  Ck)neril,  the  leading  evil-spirit  of  the  two  wicked  daughters 
of  King  Lear,  is  almost  conscienceless.  Albany  holds  up  the  glass  to 
Her,  as  he  says: —  *• 


"See  thyself,  devil! 
Proper  deformity  seems  not  in  the  fiend 
So  horrid  as  in  woman !" 

deSr*,^-'  *^\*™i^  °/  *^"-    ^"^  y^'  ^"^"'  "  ^«">"«"*=  ■•  if  she  be  a 
devil,  she  is  a  she-devil. 

And  so  the  Courtesan-queen.  Cleopatra,  never  appears  unfeminine. 

of  rei^^suWdr*  '"^"^''^  """^  ^""^"''  ^'"^''  ^°*"  '°  **=  ^'^y  ™^"^'- 

Lady  Macbeth,  too.  is  female  all  through.    She  moves  and  thinks 

she  aS"^^"'  \7°^^"'    ^r"""'^  '^''^'  *°  ^"'  ««  to  Macbeth,  but 
she  acts  differently.    Even  the  same  thought  of  a  Mood-stain'd  hai^d  is 
expressed  differently.    Macbeth  talks  of  all  the  waters  of  the  ocean  as 
insufficient  to  "wash  this  blood  clean  from  my  hand."  while  sheSm 
all  the  perfumes  of  Arabia  will  not  sweeten  this  little  hand  " 
r,th!!  in  ^"/*'^*°''^«  °f  Shakspeare  we  must  look  to  his  women 
rather  than  to  his  men.  for  the  truly  heroic  and  the  greater  vS 
Many  of  his  plays  depend  upon  the  female  characters,  not  only  to  susJ 
tain  interest  in  the  plot,  but  also  to  give  to  them  meaning  J  pu^s. 
Take  for  example  the  play  of  Measure  for  Measure.    If  Isabella 

plaj  of  Hamlet  without  Hamlet.-with  this  difference  :-that  while  the 

tehty.  Isabella  IS  an  irresistiole  portraiture  of  the  highest  form  of  moral 
punty  and  mediatorial  character.  s  unn  01  moral 


70  REUGIOUS  WORLD  OP  SHAKSPEARB 

SHe  is  an  opposite  of  Portia.  Portia  sees  in  herself  an  instrument  to 
work  out  the  redemption  of  her  husband's  friend.  She  is  self-assured, 
—confident— and  needs  no  urging,  or  even  a  suggestion  from  others. 
Isabella  is  bashful  and  doubtful  of  her  ability  and  influence.  When 
urged  to  intercede  for  her  brother's  life,  she  says : — 

"  Alas !  what  poor  ability  is  in  me 
To  do  him  good?  .  .  My  power  I  doubt !" 

She  shrinks,  too,  from  entering  upon  a  task  so  foreign  to  her  maiden 
life  and  religious  vow.  When  once  aroused,  however,  she  throws  all 
her  fears  to  the  winds  and  enters  upon  her  task  with  courage,  prompt- 
ness and  unresting  diligence. 

Her  plea  is  based  on  mercy.  She  offers  no  excuse  for  her  brother's 
fault ; — she  claims  only  that  mercy's  function  may  be  fitly  and  justly 
employed  in  his  case.  And  the  terms  of  her  plea  are  so  like  those  which 
Portia  urges  upon  Shylock,  both  in  spirit  and  argument,  that  she  ranks, 
intellectually,  almost  with  Portia  herself.  Her  argument  with  the  Dep- 
uty is  carried  forward  with  singular  beauty  of  thought  and  deep  relig- 
ious conviction  and  fervor.  But  while  she  pleads,  Angelo  looks  coldly 
on  and  tells  her  "it  is  too  late":— her  brother  is  sentenced.  One  can 
almost  see  the  beauty  of  her  face  enhanced  by  her  enthusiasm  as  she 
exclaims : — 

"Too  late?    Why  no:    I  that  do  speak  a  word 
May  call  it  back  again." 

""o  her  eloquent  pleading  Angelo  cooly  replies : — 

"Your  brother  is  a  forfeit  of  the  law 
And  you  but  waste  your  words." 

Isabella  is  prompt  with  an  appeal  of  the  very  finest  order  of  thought 
and  argument,  coupled  with  the  rarest  and  purest  religious  faith  and 
fer\'or.  What  will  those,  who  dispute  the  religious  element  in  Shak- 
speare,  do  with  such  a  plea  as  this? — 

"Alas!  Alas! 
Why,  all  the  souls  that  were,  were  forfeit  once : 
And  he  that  might  the  vantage  best  have  took 
Found  out  the  remedy.    How  would  you  be. 


Iil4fe.  P 


HEROSS  AND  HEROINES  yz 

If  He  which  is  at  top  of  judgment  should 
But  judge  you  as  you  are  ?   O,  think  on  that  ; 
And  mercy  then  will  breathe  within  your  lips 
Like  man  new  made." 

How  our  heroine  grows!  Each  step  in  her  movement  is  like  the 
eagle's  flight,  it  gains  in  strength  as  it  reaches  toward  the  height. 

Virtue  is  quick  to  discover  the  presence  of  Vice.  Isabella  has  a  con- 
viction that  she  is  doing  battle  with  something  other  than  mere  extreme 
justice.    Her  blows  fall  thick  and  fast  as  she  tells  the  deputy  that  :— 

"  Authority,  though  it  err  like  others, 

Hath  yet  a  kind  of  medicine  to  itself 

That  skins  the  vice  o'  the  top." 

Go  to  your  bosom," — she  says ; 
"  Knock  there,  and  ask  your  heart,  what  it  doth  know 

That's  like  my  brother's  fault :  if  it  confess 

A  natural  guiltiness,  such  as  his, 

Let  it  not  sound  a  thought  upon  your  tongue 

Against  my  brother's  life." 

Ah  f  here  Isabella  is  the  true  preacher,  striking  home  to  the  conscience 
of  the  deputy !  She  has  disturbed  him !  She  knows  not  the  devil  she 
has  awakened  in  him,  but  she  is  prepared  to  hear  him  say,  "Come  again 
tomorrow!"  The  morrow  comes  and,  in  the  interview,  Angelo  presses 
himself  upon  her  virgin  honor. 

If  ever  shock  comes  to  such  a  soul  as  Isabella  it  is  when  she  discovers 
the  depth  of  infamy  of  an  Angelo's  proposition.  He  who  sat  as  judge— 
whose  zeal  for  the  law,  in  the  name  of  social  purity,  had  outrun  justice 
and  mercy— who  had  condemned  her  brother  and  sentenced  him  to 
death  for  "  a  natural  guiltiness,"  now  proposes  to  her  the  self-same  sin 
as  the  price  of  that  brother's  life.  Would  that  this  irony  of  morals 
were  never  found  except  in  the  play ! 

One  can  imagine  that  Isabella's  heart  stops  beating  for  a  brief  moment 
as  the  real  significance  of  that  hypocritical  question  dawns  upaa  her  If 
there  were : — 

"  No  earthly  means  to  save  him,  but  that  either 
You  must  lay  down  the  treasures  of  your  body 
—or  else  let  him  suffer 
What  would  you  do  ?" 


f  ■' 


n  RBUGIOVS  WORLD  OP  SHAKSPBARB 

ThU  wu  Inbella's  Gethsonane.  Her  brother'!  life  put  in  the  bal- 
ance against  her  own  purity.  The  bright  young  life  of  a  man  who  has 
done  no  wrong  against  society  that  he  is  not  willing  to  atone  for.-who 
longs  to  take  the  full  measure  of  responsibility  of  husband  and  father,— 
this  life  phced  m  the  scale  against  her  virgin  honor.  But  her  answer  is 
ready.    What  wovld  I  dof   Do? 

"  As  much  for  my  poor  brother  as  myself 
That  is,  were  I  under  the  terms  of  death. 
The  impression  of  keen  whips  I'd  wear  as  rubiet 
And  strip  my  self  to  death  as  to  a  bed 
That  longing  had  been  sick  for,  ere  I'd  yield 
My  body  up  to  shame." 

And  when  Angelo  tells  her : 
•till  equal  to  the  strain  :— 


"Then  must  your  brother  die,"    she  is 


"  Better  it  were  a  brother  die 
Than  a  sister,  by  redeeming  him 
Should  die  forever  1 
Ignominy  in  ransom  and  free  pardon 
Are  of  two  houses :  lawful  mercy 
Is  nothing  kin  to  foul  redemption," 

There  spake  the  true  redeeming  spirit !  This  is  the  very  bugle  sound 
of  heaven  slaw.  Ransom  purchased  by  sin  is  not  pardon.  Mercy  has 
no  relation  to  unholy  purchase.  Pardon  is  free,  or  it  is  not  pardon.  To 
be  ransomed  by  sin  I  to  be  redeemed  by  foul  unholy  compact,  to  make 
terms  with  death  that  life  may  be  spared !  this  would  be  a  shock  against 
all  moral  law ;  it  would  make  angels  weep  and  devils  laugh. 

But  poor  Isabella  has  not  yet  drank  her  cup  of  sorrow  to  the  drees 
Her  next  trial  is  with  her  brother  who  is  lying  in  prison  awaiting  the 
issue  of  her  prayers,— pardon  or  death. 

She  has  faith  in  her  brother!  What  pure  woman  has  not?  She  never 
thinks  her  own  blood  relations  weak  and  vile  for  "love  thinketh  no 
evil. 

Isabella  has  failed  with  Angelo,  but  she  sees  virtue  in  her  brother 
notwithstanding  his  fall :— 


HEROES  AND  HEROINES  ^ 

"  I'll  to  my  brother 
Though  he  hath  fa!!cn  by  prompture  of  the  blood, 
Yet  he  hath  in  him  sutii  a  mind  of  honour. 
That  had  he  twenty  he;»ds  to  tender  down 
On  twenty  bloody  blocks,  he'd  yield  them  up 
Before  his  sister  should  her  body  stoop 
To  such  abhor'd  pollution." 

How  joyfully  she  hears  him  say:— 

"  If  I  must  die, 
I  will  encounter  darkness  as  a  bride. 
And  hug  it  in  mine  arms." 

"There  spake  my  brother  I  there  my  father's  grave  did  utter  forth 
a  voice."  But  she  has  not  yet  told  him  the  deep  damnation  of  the 
deputy.  That  he  can  be  redeemed  at  a  price  which  she  alone  can  pay 
her  brother  does  not  know,  much  less  has  she  named  the  nature  of  the 
com  demanded.  When  this  is  told  him  the  young  man,  at  first,  recoils 
with  horror,-"  Thou  shalt  not  do  it,"  he  says.  But,  as  he  takes  time  to 
thmk  of  the  precious  treasure  of  life—the  pleasure,  the  joy,  the  impulse 
of  his  youthful  days,  he  changes  his  tone  and  sighs:  "Oh  Isabel! 
Death  is  a  fearful  thing."  The  horror  of  death  faUs  upon  him  and- 
the  afterwards': — 

"  Ay  but  to  die  and  go  we  know  not  where  1" 

Who  can  ever  tell  the  awful  sense  of  loss  when  our  ideals  fail?  We 
have  placed  our  father,  our  brother,  or  our  sister  on  a  pinnacle  high 
above  the  common  herd  of  men  and  women,  and  when  bankruptcy  of 
heart  is  revealed,  it  is  as  the  crack  of  doom. 

"  Sweet  sister,  let  me  live: 
WTiat  sin  you  do  to  save  a  brother's  life. 
Nature  dispenses  with  the  deed  so  far. 
That  it  becomes  a  virtue !" 

^  These!  it  is  out!  that's  the  same  old  devil's  argument ;-"Cast  thy- 
self down  and  He  shall  give  his  angels  charge  over  thee !"  Nature  does 
not  reject  a  compromise  with  evil  to  do  a  greater  good.  Nature  makes 
a  virtue  of  a  sin  when  to  do  it  gains  a  crown,  or  saves  a  life! 


74 


REUCIOUS  WORLD  OP  SHAKSPBARB 


Theae  are  the  pJausible  theories  of  men  who  desire  gain  by  sin.  But 
IsabelUs  clear  soul  insUntly  detects  the  defect-  <n  and,  while  she  is 
shocked  at  her  brother's  weakness,  she  feels  that  moral  redemption  U 
not  possible  on  such  terms.  "Fie,  fie,  fie !"  she  sa .  s.  "Thy  sin's  not 
•cadentolbutatrade!" 

Life  for  a  life?  Yes!  Life  for  the  sinner?  Yes  I  But  a  trade  in 
smi  Never!  A  sm  to  redeem  a  sinner?  It  is  neither  in  nature  or  in 
mercy.  The  law  of  salvation  has  no  place  for  a  sinner  by  another's  sin. 
And  this  is  the  very  heart  of  this  play.  It  is  a  drama  of  intercession. 
The  whole  scheme  and  purpose  of  it  is  mediatorial.  It  shows  society 
disrupted  and  discordant  by  a  common  corruption—ij^noring  domestic 
ties,  givmg  license  and  loose  rein  to  sensual  sins  and  the  way  to 
redemption  is  mediation.  The  Duke  himself  acts  the  part,  but  the  great 
noble  soul  of  Isabella  is  the  heroic  mediator,  who  carries  the  pain  and 
sacrifice  of  it  and  is  ready  to  die  for  it. 

Thus,  it  is  Isabella  (a  woman)  who  nobly  contests  the  dangerous 
way  against  the  lust  and  power  of  Angelo:— in  the  end  she  saves  her 
brother  from  death  and  justice  from  defeat.  No  stronger  test  of  heroic 
character  could  be  possible  than  that  which  assailed  her  and  she  proved 
herself  equal  to  the  task.* 

So  also,  it  is  Portia  who  is  the  heroic  character  in  The  Merchant  op 
Ve.mce.  She  saves  Antonio,  not  Antonio,  Portia.  And  as  Mrs.  Jame- 
son says  of  her,  referring  to  the  trial  scene:  "Her  intellectual  powers, 
her  elevated  sense  of  religion,  her  high  honorable  principles,  her  best 
feelings  as  a  woman,  are  all  displayed."' 

It  is  the  lovely  Cordelia,  who,  grandly  and  patiently,  bears  the  bit- 
terest wrongs  to  save  King  Lear,  her  father,  from  the  effects  of  his 
own  weakness. 

It  is  Desdemona  who,  although  she  is  weak,  is  pure  and  spotless, 
amidst  a  network  of  lying  and  slander,  and  who  is  the  one  transparent 
light  of  love  and  fidelity  to  the  end  of  the  tragedy  and  wreck  of  the 
play  of  Othello.  "  She  is  a  victim  consecrated  from  the  first,—'  an  offer- 
ing without  blemish,'  alone  worthy  of  the  grand  final  sacrifice,  all  har- 
mony, all  grace,  all  purity,  all  tenderness,  all  truth !"» 

'Isabella,  who.  on  the  point  of  taking  the  veil,  is  yet  prevailed  upon  by  sisterly 
affection  to  tread  again  the  perplexing  ways  of  the  world,  while,  amid  the  general 
corruption,  the  heavenly  purity  of  her  mind  is  not  even  stained  with  one  unholy 
thought :  in  the  humble  robes  of  the  novice  she  is  a  very  angel  of  light  A.  W. 
Schiegel. 

'Characteristics  of  Women. 
•Ibid. 


HEROBS  AND  HEROINES  n 

It  if  Helena,  whoie  perfect  love  patiently  waito  the  leadings  of  provi- 
dence, through  years  oi  banishment  and  contumely:  and  never  falters, 
until  she  finally  proves  to  the  proud  Bertram  her  all-sacrificing  love; 
and,— well  she  says : — 

"  Uur  remedies  oft  in  themselves  do  lie 
Which  we  ascribe  to  heaven." 

It  is  not  Romeo,  but  Juliet,  who  displays  the  courage  of  patience  and 
endurance  to  the  end.  She  steadily  appeals  to  her  father,  her  mother, 
her  nurse,  and  to  the  Friar,  in  turns;  and  then  braves  suffering  and 
death  in  their  most  loathsome  forms,  in  order  that  she  may  "live  an 
unstained  wife."  But  Romeo  is  weak  at  the  moment  when  courage 
might  have  saved  all. 

And  Imogen,  in  the  play  of  Cymbelink.— although  involved  in  the 
meshes  of  skillful  plots  designed  for  her  ruin,— her  banishment  accom- 
plished,—and  her  murder  planned  by  her  own  husband ;  yet  she  never 
forsakes  her  love,  but  keeps  it  burning  upon  the  altar  of  her  heart, 
amidst  a  very  hell  of  conspiring  iniquity  that  might  make  devils  blush. 

Ruskin.  in  his  view  of  Shakspeare's  galaxy  of  heroines,  remarks 
that :  "Among  all  the  principal  figures  there  is  only  one  weak  woman— 
"  Ophelia ;  and  it  is  because  she  fails  Hamlet  at  the  critical  moment, 
"  and  is  not,  and  cannot  in  her  nature  be,  a  guide  to  him  when  he  needs 
"  her  most,  that  all  the  bitter  catastrophe  follows.  Though  there  are 
"  three  wicked  women  among  the  principal  figures,— Lady  Macbeth,* 
"^  Regan,  and  Goneril,  they  are  felt  at  once  to  be  exceptions  to  the  ordi- 
"  nary  laws  of  life ;  fatal  in  their  influence  also,  in  proportion  to  the 
"  power  for  good  which  they  have  abandoned.  Such  in  broad  light,  is 
"^  Shakspeare's  testimony  to  the  position  and  character  of  women'  in 
'I  human  life.  He  represents  them  as  infallibly  faithful  and  wise  coun- 
",  ^f '°'"s>— •"«  '■'■"Ptibly  just  and  pure  examples— strong  always  to  sanc- 
"  tity,  even  when  they  cannot  save."    Sesame  and  Lilies. 

Equally  true  is  Shakspeare's  conception  of  the  marriage  relation.*  As 
Coleridge  says:  "Except  in  Shakspeare,  you  can  find  no  such  thing  as 
a  pure  conception  of  wedded  love  in  our  old  dramatists."   How  perfectly 

'Mr.  Ruskin  omits  Gertrude,  the  mother  of  Hamlet  from  his  list  of  "wicked 
women    perhaps  because  he  does  not  regard  her  as  classed  among  "the  principal 
figures"  of  Shakspeare,  but  why  he  has  omitted  Cleopatra  is  not  so  clear 
See  Chapter  IV;  Moral  Inculcations. 


MICROCOPV   MSOUITION   TtST  CHART 

(ANSI  end  ISO  TEST  CHART  No.  2) 


1.0 


^ 

1^ 

^ 

■  2.2 

1^ 

ini 

40 

■  2.0 

J     /APPLIED  IM>GE    Inc 

^         1653  Eost   Mam  Street 
r^        Rocheiler.   New  York         U609       USA 
S        (716)   482  -  03CM  -  Phone 
(716)   288-  5989  -  Fo« 


:{' 


76  RELIGIOUS  WORLD  OF  SHAKSPEARE 

he  sets  forth  the  nice  distinctions  between  the  respective  relations  of 
father  and  husband.    Desdemona  says : — 

"My  noble  father 
I  do  perceive  here  a  divided  duty : 
To  you  I  am  bound  for  life  and  education ; 
liiy  life  and  education  both  do  teach  me 
How  to  respect  you ;  You  are  the  lord  of  duty ; — 
I  am  hitherto  your  daughter :   But  here's  my  husband ; 
And  so  much  duty  as  my  mother  show'd 
To  you,  preferring  you  before  her  father. 
So  much  I  challenge  that  I  may  profess 
Due  to  the  Moor,  my  lord."         Othello  i:$. 

The  Portia's  of  Julius  Caesar,  and  of  The  Merchant  op  Venice 
are  noble  examples  of  wedded  love ;  and  Queen  Katherine  in  Henry 
VIII.  tells  her  own  sweet  story  of  devotion  and  pure  love. 

Even  in  his  earlier  Poems,  the  lofty  purity  of  true  womanhood  caught 
the  fire  of  Shakspeare's  genius.  His  Sonnets  often  breathe  the  purest 
thought  and  express  the  loftiest  ideas  of  virtue.  And,  in  the  Rape  of 
LucRECE,  while  vividly  portraying  black,  hellish,  lust  and  crime;  he  also 
gives  a  perfect  picture  of  chastity  and  loyal  wifehood,— j/ro«^er  than 
life  itself:— liucrect,  pure  as  Desdemona  and  a  much  stronger  character. 


IV 


THB  MORAL  INCULCATIONS  OF  SHAKSPBARE 

Prof.  R.  G.  Moulton  in  his  excellent  work  on  "Shakspeare  as  a 
Dramatic  Artist,"  speaks  of  "the  dangerous  tendency  which  exists 
among  ordinary  readers  of  Shakspeare,  to  ignore  plot,  as  of  secondary 
importance,  and  to  look  for  his  greatness  mainly  in  his  conceptions  of 
character."  But  "the  full  character  eilect,"  he  says,  "cannot  be  grasped 
if  it  be  dissociated  from  the  plot." 

This  is  a  note  of  warning  to  which  another  might  be  added.  Many 
readers,  in  looking  for  the  plot  miss  the  characters,  while  others  in 
studying  the  stage-setting  of  the  drama,  see  nothing  of  the  lofty  incul- 
cations and  inspirations  which  it  contains.  We  shall  see  more  of  Shak- 
speare in  proportion  as  we  view  his  works  as  an  expression  of  those  high 
attributes  which  associate  the  human  soul  with  the  divine  character.  We 
obtain  glimpses  of  man's  moral  and  spiritual  nature  as  we  scan  the  plot 
or  study  the  personnel  of  the  plays.  But  if  we  view  these,  as  incidents 
which  set  forth  the  greater  things,  we  shall  discover  that  the  perfection 
of  Shakspeare's  art  is  not  in  the  skill  fulness  of  his  plot,  or  the  faithful 
portraiture  of  his  men  and  women,  but  in  his  masterly  expressions  of 
the  human  soul,  in  all  its  passions  and  emotions,  its  hopes  and  fears,  its 
loves  and  hates,  and  its  relation  to  the  infinite  and  divine. 

As,  in  Millet's  great  picture,  the  two  humble  peasants  standing  in 
reverential  attitude,  at  the  moment  when  the  sound  of  the  Angelus  bell 
is  heard  from  the  direction  of  the  distant  sunset,  are  but  incidents  which 
to  the  spiritually  minded,  bring  the  soul  into  instant  rapport  with  prayer 
and  worship,  so  the  figures  which  move  in  natural  order  upon  the  can- 
vas of  Shakspeare's  immortal  paintings  are  each  an  expression  of  some 
quality  of  the  human  soul,  for  good  or  evil,  for  life  or  death,  for  heaven 

or  hell. 

The  moral  tone  of  .Shakspeare,  as  of  all  great  artists,  must  be  meas- 
ured, not  by  any  one  figure  of  his  pictures,  nor  by  the  whole  of  any  one 
picture,  but  by  the  spirit  which  he  breathes,— the  atmosphere  which  he 
creates.  Dr.  Strong  is  a  witness  on  this  subject.  He  says :  "After 
"  earnest  searching  I  can  unhesitatingly  avow  the  belief  that  the  great 

77 


/■■•r 


RELIGIOUS  IVORLD  OF  SHAKSPBARB 


I 


t 
i 


I. 
L 


^If 


"  dramatist  was  both  pure  in  his  moral  teaching  and  singularly  sound 
"  in  faith.  There  is  a  freedom  of  utterance  with  regard  to  the  relations 
"  of  the  sexes,  such  as  is  natural  in  a  bold  and  vigorous  age,  but  there  is 
"  no  lingering  over  sensual  details."* 

The  world  is  only  just  beginning  to  understand  the  moral  worth  of 
Shakspeare.  With  the  thought  turned,  too  exclusively,  towards  his  ear- 
lier poems,  and  his  free  descriptions  of  the  grosser  passions,  he  has  been 
regarded  as  an  atdst  whose  pictures  are  not  for  the  school  or  the  family 
library, — ^as  a  poet  of  tainted  morals — a.  genius  whose  great  work  is 
darkened  with  a  black  shadow. 

Taine,  in  his  History  of  English  Literature,  quite  freely  expressed 
this  view, — and  yet  the  notoriety  of  Taine's  work  rests  largely  upon  his 
liberal  selection  of  passages  and  quotations  from  literature,  many  of 
which  ought  never  to  have  been  written,  and  others,  like  those  from 
Shakspeare,  ought  never  to  be  viewed  apait  from  their  contexts. 

Take  from  their  environment  a  selection  of  passages  from  the  works 
of  any  great  author  and  they  may  appear  gross ;  draw  a  picture  from 
some  incidents  in  any  well-regulated  domestic  circle,  and  place  it  upon 
the  stage  of  observation,  with  the  brilliancy  of  lime-light  effects  to 
accentuate  it,  and  it  will  be  sport  for  the  depraved  and  subject  for 
unchaste  thought. 

But  the  true  dramatist,  and  the  true  historian,  must  see  humanity  as  it 
is  and  reveal  it ;  not  the  beautiful  and  the  true  alone,  but  the  repulsive 
and  false  also.^ 

One  is  shocked  that  a  man  of  great  literary  ability  and  fame  should 
have  selected  the  grossest  character  of  all  Shakspeare's  works,  and 
identified  the  personal  morality  of  the  Poet  with  that  character.    Taine 

' "  The  Great  Poets  and  their  Theology,  p.  210. 

•"The  objection  that  Shakspeare  wounds  our  feelings  by  the  open  display 
of  the  most  disgusting  moral  odiousness,  unmercifully  harrows  up  the  mind, 
and  tortures  even  our  eyes  by  the  exhibition  of  the  most  insupportable  and  hate- 
ful spectacles,  is  one  of  the  greater  and  graver  importance.  He  has,  in  fact,  never 
varnished  over  wild  and  blood-thirsty  passions  with  a  pleasing  exterior — never 
clothed  crime  and  want  of  principle  with  a  false  show  of  greatness  of  soul ;  and 
in  that  respect  he  is  every  way  deserving  of  praise.  Twice  he  has  portrayed 
downright  villains,  and  the  masterly  way  in  which  he  has  contrived  to  elude 
impressions  of  too  painful  a  nature  may  be  seen  in  lago  and  Richard  the  Third. 
I  allow  that  the  reading,  and  still  more  the  sight,  of  some  of  his  pieces,  is  not 
advisable  to  weak  nerves.  .  .  .  But  if  we  wish  to  have  a  grand  purpose,  we 
must  also  wish  to  have  the  grand  means,  and  our  nerves  ought  in  some  measure 
to  accommodate  themselves  to  painful  impressions,  if,  by  way  of  requital,  our  mind 
is  thereby  elevated  and  strengthened."  Dramatic  Art  and  Literature,  A.  W. 
bchlegel. 


MORAL  INCULCATIONS  OF  SHAKSPEARB 


79 


says :  "Falstaflf  has  the  passions  of  an  animal  and  the  imaginations  of 
"  a  man  of  wit.  There  is  no  character  which  better  exemplifies  the  fire 
"and  immorality  of  Shakspeare.  .  .  .  This  big  fellow,  a  coward,  a 
"  cynic,  a  brawler,  a  drunkard,  a  lewd  rascal,  a  pothouse  poet  is  one  of 
"  Shakspeare's  favorites.  The  reason  is  that  his  morals  are  not  of  fine 
"  nature,  and  Shakspeare's  mind  Is  congenial  with  his  own." 

It  is  true  that  Taine,  a  few  pages  further  on  in  his  review,  has  given 
a  fuller  and  a  less  grotesque  portrait  of  the  Dramatist,  but  he  does  not 
remove  this  hideous  caricature.  The  explanation  seems  to  be  that  Taine 
is  the  product  of  that  French  school,  which  sees  vice  when  clothed  in 
ugliness  or  associated  with  clumsy  or  vulgar  errors,  but  does  not  detect 
it  when  arrayed  in  purple,  or  regulated  by  social  etiquette  and  police 
rule.  It  is  refreshing  to  turn  from  this  writer  to  another  Frenchman  of 
Ureat  eminence  as  an  Author  and  a  Statesman, — Lamartine, — who  said : 
"  It  is  as  a  moralist  that  Shakspeare  excels ;  no  one  can  doubt  this  after 
"  a  careful  study  of  his  works,  which,  though  containing  some  passages 
"  of  questionable  taste,  cannot  fail  to  elevate  the  mind  by  the  purity 
"  of  morals  they  inculcate.  They  breathe  so  strong  a  belief  in  virtue, 
"  so  steady  an  adherence  to  good  principles,  united  to  such  a  vigorous 
"  tone  of  honor  as  testifies  to  the  author's  excellence  as  a  moralist,  nay,  a 
"  Christian." 

For  the  credit  of  the  human  race,  we  would  that  history  could  be  his- 
tory without  recording  the  horrible  deeds  of  blood  and  lust  which,  in  all 
ages,  have  occurred.  We  would  that  the  Bible  history  of  the  Hebrew 
race  were  unstained  with  the  sins  of  David,  Solomon,  Ahab  and 
Rehoboam,  and  without  the  evils  which  debased  the  people.  But  if 
these  things  were  omitted  it  would  not  be  history,  and  the  destruction 
of  great  cities,  the  ruin  of  kingdoms  and  the  downfall  of  nations,  would 
have  been  inexplicable  enigmas. 

For  the  school  text-book  it  is  well  that  Hudson  and  others  have  modi- 
fied the  text  of  Shakspeare  to  present  everyday  language  and  ethical 
ideas.  Yet,  who  that  values  the  power  of  a  great  master-work  would 
destroy  the  poem  which  holds  up  to  universal  execration  and  everlasting 
condemnation  the  awful  crime  of  Tarquin  against  the  purity  which  is 
better  than  life, — the  honor  which  is  worth  more  than  a  diadem  or  a 
crown?  And  yet  ihere  are  passages  in  that  poem  which,  to  separate 
them  and  accentuate  them  would  be  a  crime  against  social  morality.  In 
regard  to  the  language  sometimes  employed  by  the  Poet,  consideration 
must  be  allowed  for  the  times  in  which  he  lived  as  well  as  the  characters 
whom  he  portrayed.    In  his  work,  already  quoted,  Schlegel  remarks: 


(to 


RELIGIOUS  WORLD  OF  SHAKSPBARB 


i 


"^  Shakspeare,  it  is  true,  sometimes  introduces  us  to  improper  company; 
"  at  others,  he  suffers  ambiguous  expressions  to  escape  in  the  presence 
"  of  women,  and  even  from  women  themselves.  This  species  of  petu- 
''  lance  was  probably  not  then  unusual.  He  certainly  did  not  indulge  in 
"  it  merely  to  please  the  multitude,  for  in  many  of  his  pieces  there  is  not 
"  the  slightest  trace  of  this  sort  to  be  found:  and  in  what  virgin  purity 
"  are  many  of  his  female  parts  worked  out  1  When  we  see  the  liberties 
"  taken  by  other  dramatic  poets  in  Ergland  in  his  time,  and  even  much 
"  later,  we  must  account  him  comparatively  chaste  and  moral."' 

The  characters  of  his  dramas  are  true  to  life,  not  so  much  in  local 
detail,  but  in  the  broader  and  universal  survej'.  They  are  portraits  of 
human  nature— in  all  time— in  all  lands.  They  are  not  weakened  by  a 
shortened  perspective  nor  distorted  by  an  out-of-proportion  foreground. 
Ruskin  says  of  them :  "They  are  perfect  plays  just  because  there  is  no 
"  care  about  centuries  in  them,  but  a  life  which  all  men  recognize  for  the 
"  human  life  of  all  time;  and  this  it  is,  because,  painting  honestly  and 
''completely  from  the  men  about  him  he  painted  that  human  nature 
"  which  is  indeed  constant  enough,— a  rogue  in  the  fifteenth  century 
"^  being  at  heart  what  a  rogue  is  in  the  nineteenth,  and  was  in  the 
"  twelfth ;  and  an  honest  or  a  knightly  man  being  in  like  manner  very 
"  similar  to  other  such  at  any  other  time.  And  the  work  of  these  great 
'I  idealists  is  therefore  always  universal ;  not  because  it  is  not  portrait 
"  but  because  it  is  complete  portrait  which  is  the  same  in  all  ages."* 
^^  Carlyle  has  something  to  say  akin  to  this:  "Shakspeare  is  no  secta- 
*'  rian:  to  all  he  deals  with  equi.y  and  mercy;  because  he  knows  all  and 
'' his  heart  is  wide  enough  for  all.  In  his  mind  the  world  is  a  whole; 
'I  he  figures  it  as  Providence  governs  it ;  and  to  him  it  is  not  strange  that 
"  the  sun  should  be  called  to  shine  on  the  evil  and  the  good,  and  the 
"  rain  to  fall  on  the  just  and  the  unjust."' 

A  much  too  common  idea  of  Shakspeare  is,  that  he  had  no  unity  of 
purpose  or  moral  action  in  his  plays,— that  he  wrote  merely  to  harmonize 
his  plot  or  dress  it  for  the  stage.  But  if  it  be  that  this  was  his  sole  or 
chief,  conscious  purpose,  ihen  it  must  be  admitted  that  he  was,  uncon- 
sciously, a  perfectly  harmonious,  moral  teacher.  In  all  his  plays  there  is 
thrown  a  steady  searchlight  upon  sin  which  shows  it  hideous.  Sin  is 
never  exalted  or  deified.  It  is  successful  at  times,  and  for  a  time,  but  it 
is  inevitably  attached  to  its  nemesis.  As  Prof.  Moulton  says :  ''shak- 
"  speare  is  not  satisfied  with  the  easy  morality  which  converts  all  its  vil- 

'  Dramatic  Art  and  Literature,  A.  W.  Schlegcl. 
•Modem  Painters,  Vol.  III. 
"Essay  on  Goethe. 


Ill 


MORAl,  INCUICATIONS  OP  SHAKSPEARB  8t 

;|  lains  before  the  fall  of  the  curtain.   In  the  play,  as  in  actual  fact,  men 

are  seen  divided  into  two  classes:  those  in  whom  evil  is  only  acci- 

dental,  to  be  purged  out  of  them  by  the  discipline  of  experience,  and 

those  in  whom  the  evil  seems  to  be  a  part  of  their  nature,  and  all  the 

working  of  events  upon  them  serves  only  to  drive  it  deeper  in  "> 

That  IS  to  say,-Shakspeare  makes  sin  to  bring  its  own  punishment. 

The  Scriptural  law.    Be  sure  your  sins  will  find  you  out,"  is,  with  one 

exception,*  always  present  in  his  plays.    Retribution  is  conveyed  in  the 

very  act  of  wrongdoing:    "Whatsoever  a  man  soweth  that  shall  he  also 

reap,      l  he  force  of  the  punishment  is  in  the  evil  itself. 

So  tftie  to  the  Scriptual  law  is  Shakspeare  that  he  inakes  the  sinful 
deeds  of  men  to  outline  and  determine  the  very  nature  of  their  punish- 
ment. Thus  the  action  of  conscience  is  seen  working  in  the  minds  of 
the  wrongdoer: — 

"  So  much  my  conscience  whispers  in  your  ear 
Which  none  but  Heaven  and  you  and  I  shall  hear." 

"Ti.       t         ,  L    ,,.  KingJohnz.-i. 

The  colour  of  the  King  doth  come  and  go 

Between  his  purpose  and  his  conscience."         4: 3. 

Shakspeare  shows  conscience  as  an  inward  monitor  which  acts  in  us 
and  for  us.  We  depend  upon  it  for  our  intuitions  against  wrong,  as 
well  as  for  our  leanings  towards  right.  The  ship  captain  cannot  do 
without  his  compass,  for  it  is  the  conscience  of  the  ship.  As  it  turns  to 
the  north  with  certainty,  so  the  human  conscience  turns  towards  the 
north  pole  of  nght  and  warns  us  against  leading  our  craft  wrong-wards 
It  IS  not  a  human  contrivance,  this  conscience,  but  is  divine  in  iti 
source,  its  aspiration  and  its  law.  ' 

Conscience  is  a  terrible  sourge  to  the  wrongdoer.  A's  the  needle, 
pointing  whither-ward,  witnesses  against  the  sailor  who  dares  to  ignore 
its  warnings,  so  the  human  conscience  is  a  whip  of  scorpions  to  the  soul 
v^hich  heeds  not  its  voice.*    A  brief  perusal  of  the  quotations  in  this 

'Shakspeare  as  a  Dramatic  Artist,  p.  278. 
I  See  pp.  8s,  86  (Hen.  VIII.). 

flall'ify"^  "'"  ~'""  '''*  ***  P'»8"«  ^^^  sinner.  There  is  no  need  of  anv 
flagellations;  every  man  flagellates  himself.  No  God  in  heaven  or  d^iWn  1% 
»  needed  to  kindle  the  fire  that  is  not  quenched,  or  to  S  ie  wori  £ 

»  not  new.  The  old  Greek  tragedians  saw  it,  and  wrought  it  into  their  tra«.H,-« 
Dante  saw^.t.  and  repeated  it  in  the  story  of  Inferno.'  ShaS^are  «w T tSS 


I    *  (» 


REUGI0U5  WORLD  OP  SHAKSPBAR& 


I 

!      h\ 


';-   i  . 


volume  under  the  head  of  "GMisdence"  will  show  how  perfectly  and 
uniformly  Shakspeare  has  preseiited  this  truth  together  with  the  unerr- 
ing law  of  justice  and  judgment. 

Falstaff  gloats  over  every  new  conquest  of  virtue  in  his  licentious 
course;  he  revels  in  merry  lust  and  spends  his  wit  and  his  means  in  the 
gratification  of  his  abnormally  gross  nature,  while  public  decency,  order 
and  law,  or  even  the  defeat  of  his  plots,  are  all  powerless  to  restrain  him. 
Yet,  in  all  his  revelings,  he  is  working  out  his  own  sure  undoing;  by  and 
by,  he  is  deserted,  even  by  his  intimate  associates  in  lewdness,  and  he 
dies  in  a  house  of  ill-fame,  mourned  only  by  its  immoral  keeper. 

Macbeth  and  Richard  III.  each  meet  their  own  nemesis  in  horrible 
dreams  and  ghosts ;  and  a  network  of  retribution  is  woven  about  them 
by  their  own  hands  until  they  die  a  bloody  death  amid  the  execrations 
of  all. 

lago,  who  is  the  incarnation  of  evil  conspiracy,  sowing  discord  and 
ruin  until  the  whole  circle  of  his  friendships  are  driven  to  death  or 
desperation,  brings  on  his  own  ruin  at  the  very  climax  of  his  successes, 
and  his  conviction  is  established  by  the  witness  and  proclaimed  by  the 
moral  indignation  of  his  own  wife,  at  the  moment  of  his  arrest  and 
judgment : — 


"  Though  those  that  are  betray'd 
Do  feel  the  treason  sharply,  yet  the  traitor 
Stands  in  worse  case  of  woe." 


Cymb.  3: 4. 


When  Regan,  daughter  of  King  Lear,  caps  her  cruelty  by  sharing  in 
the  monstrous  act  of  putting  out  the  eyes  of  Gloster  because  he  has 
befriended  her  father,  a  servant  who  is  looking  on  says : — 

"  If  she  live  long 
And,  in  the  end,  meet  the  old  course  of  death 
Women  will  all  turn  monsters."  King  Lear  3: 7. 

But  Regan  and  Goneril,  that  pair  of  female  monsters,  do  not  "live 
long  and  meet  the  old  course  of  death."    They  became  madly  jealous  of 

revealed  it  in  Macbeth  and  in  Othello.    Browning  and  Tennyson  have  seen  and 
interpreted  it."    Evolution  of  Christianity.    Lyman  Abbott. 

"Shakspeare  puts  the  demon  and  the  angel,  inside  a  man,  where  they  belong. 
Ko  longer  is  a  human  being  lured  on  to  a  deed,  which  he  seemingly  <  mot  help, 
by  some  irresistible  power  outside  of  his  own  nature."  The  Shakspeare  Drama, 
by  Denton  J.  Snider.    See  also  quotation  on  page  g6  of  this  volume. 


MORAL  INCULCATIONS  OP  SHAKSPBARS.  «| 

each  other.    Goneril  poisons  Regan,  and  then  kills  herself ;  and  when  the 
double  deed  is  reported  to  the  reigning  Duke,  he  says  :— 


"  This  judgment  of  the  heavens  that  makes  us  tremble 
Touches  us  not  with  pity." 


5- J. 


Even  the  tragedy  m  the  love  drama  of  Romeo  and  Juliet,  turns  upon 
the  In  V  of  nemesis.  The  Prince  of  Verona  sums  uo  the  tragical  end  of 
the  play,  with  these  words : — 

"  Capulet !    Montague ! — 
See  what  a  scourge  is  laid  upon  your  hate, 
That  Heaven  finds  means  to  kill  your  joys  with  love  I 
And  I,  for  winking  at  your  discords  too 
Have  lost  a  brace  of  kinsmen :— all  are  punished." 

Rom.  and  Jul.  5:  j. 

Thus  Shakspeare  brings  sin  to  judgment.  And  if  Virtue  appears,  at 
times,  not  to  see  its  reward  in  this  life,  yet,  as  an  English  divine  has 
said :  "As  we  read  his  works  we  feel  that  justice  walks  the  world,  delay- 
mg,  it  may  be,  but  not  forgetting ;  as  is  ever  the  manner  of  the  Divine."* 

Witness  also  the  moral  inculcations  of  the  Poet  in  all  matters  of  sex 
relation.  He  draws  the  portrait  of  immoral  characters  as  they  are ;  but 
he  never  places  them  in  the  light  of  commendation.  As  Coleridge  says : 
"Shakspeare  has  no  innocent  adulteries,  no  virtuous  vices;— he  never 
renders  that  amiable  which  religion  and  reason  alike  teaches  us  to  detest, 
or  clothes  impurity  in  the  garb  of  virtue." 

His  marriage  doctrines  are  of  the  highest  order  of  morality."  They 
are  Scriptural— they  are  sacred,— they  are  ideal.  His  poetry  on  the  sub- 
ject is  conceived  in  the  loftiest  spirit ;  it  teaches  the  holiest  and  most  per- 
fect blending  of  the  two  in  one.  When  marriage  is  employed  as  a 
weapon  or  means  of  unholy  passions  or  aims,  it  is  shown  to  be  prosti- 
tuted from  its  purpose  and  it  brings  forth  the  bitterest  of  fruits;  the 
most  powerful  are  shown  to  be  swept,  as  by  an  avalanche,  to  ruin  when 
they  have  violated  its  covenant  or  outraged  its  rites. 

Moreover,  with  Shakspeare,  marriage  is  a  religious  ordinance  and 
must  be  religiously  observed,— not  as  a  mere  civil  contract,  but  as  "a 
world-without-end  bargain"  .  .  .  "in  the  temple  eternally  knit."  "God 
IS  the  best  maker  of  all  marriages."* 

•Archbishop  Trench. 

'See  chapter  on  Heroes  and  Heroines. 

•See  "Marriage,"  Scriptural  Themes,  etc..  Book  III. 


upphp 


ISJ* 


84  RELIGIOUS  WORLP  OF  SHAKSPEARB 

The  Poet  also  shows  that  marriage  is  the  very  foundation  institutioiT 
of  home-life, — the  hope  and  security  of  society.  In  Measubc  70r 
Mbasurs  marriage  is  the  redemption  and  salvation  of  social  life;  it 
solves  the  most  difficult  of  problems.  In  other  plays  it  unites  king- 
doms and  brings  peace  between  warring  factions  and  nations. 

It  may  be  urged  that  Shakspeare  represents  old-fashioned  views  on 
this  subject,  leaning  towards  ideas  of  ownership  rather  than  of  partner- 
ship, and  the  supremacy  of  the  man  over  the  woman,  as  seen  in  the 
Taming  of  the  Shrkw  : — 

"  Thy  husband  is  thy  lord,  thy  life,  thy  keeper, 
Thy  head,  thy  sovereign." 

Yet  this  is  consistent  with  Paul's  letters  to  the  Ephesians  and  Colos- 
sians : — "Wives  submit  yourselves  unto  your  own  husbands,  for  the  hus- 
band is  the  head  of  the  wife." 

But  it  is  with  greater  and  more  frequent  emphasis  that  the  Poet  places 
woman  in  her  true  position  of  dignity  and  honor,  as  the  help-meet  and 
not  the  inferior  of  man.  Portia, — Brutus's  Portia, — is  one  of  the 
noblest  of  Shakspeare's  grand  galaxy  of  noble  women  in  the  marital 
relation.  Brutus  had  not  realized  the  identity  of  heart  and  mind  in  the 
true  man  and  wife.  Portia's  lofty  appeal  was  a  revelation  to  her  hus- 
band. He  thought  her  noble  and  beautiful,  and  a  fit  subject  for  his  care, 
as  he  scolded  her  for  risking  her  health  to  the  inclement  morning.  But 
it  was  a  new  thought  to  him  when  she  exclaimed : — 

"Within  the  bond  of  marriage,  tell  me,  Brutus 
Is  it  excepted,  I  should  know  no  secrets 
That  appertain  to  you  ?    Am  I  yourself 
But,  as  it  were,  in  sort,  or  limitation ; 
To  keep  with  you  at  meals,  comfort  your  bed. 
And  talk  to  you  sometimes  ?   Dwell  I  but  in  the  suburbs 
Of  your  good  pleasure  ?    If  it  be  no  more, 
Portia  is  Brutus'  harlot,  not  his  wife."  Caesar  s:  2. 

Whati  No  secrets  from  my  wife — nothing  that  can  separate  our 
interests  or  disturb  our  peace !  Does  it  mean  that  these  secrets  that  bum 
are  to  be  shared  by  both  of  us,  or  otherwise,  that  Portia  is  wife  only  in 
part?  It  is  thus  that  Shakspeare  brings  home  to  us  the  ultimatum 
of  our  mutual  relation  and  so  he  holds  ''the  mirror  up  to  nature." 


MORAL  INCULCATIONS  OP  SHAKSPEARB  85 

'    We  have  remarked  that  there  is  one  exception,  in  the  playi  of  Shak- 
•peare,  to  the  working  out  of  the  law  of  nemesis. 

Henry  VIII.  is  the  only  one  of  the  great  dramas  that  does  not  bring 
the  sms  of  the  chief  criminal  to  judgment.  Here,  the  wicked  is  seen  to 
thrive  "like  a  green  bay  tree"  and  the  judgment  day  does  not  come. 
Henry  is  crowned  with  success  and  the  play  closes  upon  him  amidst  a 
triumphant  festival  of  joy  and  congratulation,  while  his  victims  suffer 
and  die.  This  Kingisa  confirmed  sensual  monster,— a  full-fledged, pious, 
hypocrite,— he  is  a  devil  who  "can  cite  Scripture  for  his  own  purpose" 
and,  as  Charles  Dickens  says :— "he  is  one  of  the  most  detestable  villains 
that  ever  drew  br-ath."  Yet  his  most  abominable  plots  succeed  and  the 
curtain  is  drawn  upon  his  crowning  happiness,  while  his  patient  and 
faithful  wife  (Katherine)  lies  dying  of  a  broken  heart. 

Critics  have,  of  course,  noticed  this  as  inconsistent  with  the  moral 
genius  of  Shakspeare  and,  to  escape  the  dilemma,  the  authorship  of  the 
play  has  been  questioned.    Dr.  Johnson  accounts  for  its  deficiencies,  as 
for  several  other  of  the  plays,  by  calling  attention  to  the  fact  that  the 
work  is  a  composite,— other  play-writers  sharing  in  it  for  stage  purposes 
and  It  seems  to  be  generallyconceded  that  the  Prologue  and  Epilogue  of 
this  play  were  not  by  Shakspeare.    Schlegel.  the  best  German  critic, 
places  the  play  as  unquestionably  Shakspeare's  and  offers  the  best  expla- 
nation for  its  main  defect  that  we  have  seen.  He  points  out  that  it  was 
written  during  the  reign  of  Elizabeth  and  that  a  full-length  portrait  of 
her  father  would  not  be  possible  at  that  time.    Shakspeare  could  not 
present  a  play,  for  instance,  during  Elizabeth's  reign  that  would  dis- 
credit her  legitimacy  and  therefore  he  had  to  frame  it  so  as  to  leave 
Henry's  marriage  with  Katherine  in  doubt  as  to  legal  form  and  legiti- 
macy.   Yet,  as  Schlegel  shows,  the  duplicity  and  hypocrisy  of  Henry  are 
made  easily  apparent  to  the  onlooker,  while  it  is  skilfully  obscured  from 
the  view  of  Elizabeth  by  the  brilliancy  of  his  description  of  Cranmer's 
prophetic  eulogy  of  herself  at  the  christening. 

But  there  is  another  explanation  of  these  apparent  defects  in  the 
moral  issue  of  the  play  which  seems  to  have  escaped  notice ;  at  least,  we 
have  not  seen  it  referred  to  in  any  published  work. 

Henry  VIII.  was  an  uncompleted  work.  Everything  points  to  the 
probability  that  this  play  was  only  part  of  a  general  plan  of  a  larger 
work  in  the  mind  of  Shakspeare,  the  completion  of  which  would  involve 
two,  or  three  parts,  as  in  the  case  of  Hi;nry  IV.  and  Henry  VI. 

Reasons  for  such  an  extension  of  the  work  are  not  far  to  seek.  The 
play,  as  it  is  given  to  us,  treats  only  of  part  of  Henry's  reign,  although 


I 


86  R3LIG10US  WORLD  OP  SHAKSPEARE 

written  long  after  his  death  and  it  doses  at  a  point  which  would  render 
it  acceptable  to  the  reigning  authority  of  the  time.  Moreover  it  bcara 
marks  of  leading  up  to  further  writing  and  it  is  reasonable  to  suppose 
that,  had  Shakspeare  lived  long  enough  to  meet  new  conditions,  he  would 
have  worked  out  the  same  moral  order  in  this  that  he  has  done  in  all 
other  of  his  historical  plays. 

It  may  be  added  that  there  were  ample  materials  ready  at  hand  when- 
ever he  might  have  assumed  the  Usk.  The  tragedies  which  attended 
the  domestic  infelicities  of  Henry,  the  failure  of  the  King  to  find  the 
happiness  he  sought  in  any  one  of  his  numerous  wives,  i.fter  his  treach- 
ery  to  Katherine,  the  death  which  followed  a  disease  which  made  him 
hideous  to  the  sight  and  odious  to  the  senses :— these  and  other  things  in 
the  hands  of  Shakspeare  would  have  amply  served  to  illustrate  his  moral 
program. 

But  the  play  is  not  without  its  chapter  of  judgment  against  sin.  Cardi- 
nal VVolsey  is  the  most  prominent  figure,  next  to  the  King,  and  in  point 
of  ability  and  ambition  he  is  easily  first.  He  is  the  most  subtle  and  tol- 
ented  of  men  in  plotting  for  his  own  ends  at  the  expense  of  others.  One 
after  another  they  are  sent  to  the  tower  and  executed,  to  make  the  way 
easier  to  Wolsey.  But  he  ove-'eaches  himself  and  dies,— self-convicted, 
broken-down,  dishonored,  amid  the  execrations  of  his  peers  and  the 
people  and  dies,  in  prison,  deeply  humiliated  and  penitent,  while  the 
executioner's  axe  hangs  over  his  head  waiting  to  fall  upon  him. 


TRAGEDY  IN  THE  BIBLE  AND  IN  SHAKSPEARE 

Shakspeare  turned  instinctively  to  the  Bible  for  types  of  sin,  as  weH 
as  of  virtue.  He  saw  the  woeful  anarchy  in  society,  the  ruin  of  domestic 
peace,  the  waste  and  destruction  of  wealth,  the  letting  loose  of  the  pa»- 
aions  of  evil,— all  represented  in  the  first  murder:— 

—"Let  order  die! 
And  let  the  world  no  longer  be  a  stage 
To  feed  contention  in  a  lingering  act ; 
But  let  one  spirit  of  the  first-bom  Cain 
Reign  in  all  bosoms,  that  each  heart  being  set, 
On  bloody  courses,  the  rude  scene  may  end, 
And  darkness  be  the  burier  of  the  dead." 

//  Hen.  IV.  i:  i. 

lljis  is  one  of  eight  separate  referenc-s,  in  seven  different  plays,  to 
Cain,  or  the  murder  of  Abel. 

There  is  also  a  striking  correspondence  in  the  plots  and  characters  of 
some  of  the  tragedies  of  Shakspeare  with  some  of  those  of  the  Bible. 
The  most  notable  of  these  is  the  play  of  Macbeth.  The  Macbeth 's  are,  in 
almost  every  detail,  the  very  likeness  of  Ahab  and  Jezebel.  Indeed  one 
might  easily  suppose  that  the  dramatist,  while  turning  to  Scotland  for 
his  location  and  names,  had  much  more  in  his  mind,  the  character  and 
deeds  of  King  Ahab  and  his  wife ;  "the  very  mind  and  being  of  the  latter 
seem  to  be  infused  into,  and  to  animate  the  former."  Not  only  the  gen- 
eral outline  of  the  plot  of  the  play,  but  also  the  spirit,  and  even  the 
method  of  it,  seem  to  be  taken  from  the  life  of  the  wicked  King  and 
Queen  of  Israel, 

These  analogies  have  not  escaped  notice.  Further  on  we  shall  quote 
from  a  little  work  already  referred  to,  which  was  published  about  fifty 
years  ago.* 

*  Shakspeare  and  the  Bible.    Rev.  J.  R.  Eaton. 


'.% 


» 


RELIGIOUS  WORLD  OF  SHAKSPEARB 


Mrs.  Jameson  calls  attention  to  the  first  inception  of  the  first  great 
crime  of  the  tragedy.  She  says:  "We  must  bear  in  mind,  that  the 
"  first  idea  of  murdering  Duncan  is  not  suggested  by  Lady  Macbeth 
"  to  her  husband :  it  springs  within  his  mind,  and  is  revealed  to  us, 
"  before  his  first  interview  with  his  wife,— before  she  is  introduced  or 
"  even  alluded  to."» 

So  was  ii  with  Ahab.  No  mention  is  made  of  Jezebel  in  connection 
with  Naboth's  vineyard  until  Ahab  coveted  it.  When  Naboth  refused 
to  part  with  the  property  "  Ahab  came  into  his  house  heavy  and  dis- 
pleased .  .  .  and  laid  him  down  upon  his  bed  and  turned  away  his 
face  and  would  eat  no  bread."   /  Kings  xxi.  4. 

And  when  the  King  told  Jezebel  the  reason  for  his  vexation,  she 
promptly  met  him  with  this:  "Dost  thou  now  govern  the  Kingdom 
of  Israel?  Arise  and  eat  bread  and  let  thy  heart  be  merry:  I  will  give 
thee  the  Vfneyard  of  Naboth."    xxi.  7. 

Jezebel's  scheme  was  crafty  and  diabolical.  In  the  King's  name 
she  proclaimed  a  fast  and  caused  Naboth  to  be  set  in  a  prominent  place 
among  the  people.  Then,  two  men,  sons  of  Belial,  were  hired  to  bear 
false  witness  against  him,  that  he  did  "blaspheme  God  and  the  King." 
Thus  Naboth  was  falsely  convicted  of  a  capital  offense,  in  the  pres- 
ence of  the  people,  and  officers  were  instructed  to  carry  him  out  of  the 
city  and  stone  him  to  death.  The  confiscation  of  his  property  easily 
followed.  Throughout  the  whole  of  the  tragedy  the  hand  and  heart 
of  Jezebel  are  clearly  seen. 

As  Ahab  desired  the  vineyard  of  Naboth,  so  Macbeth  coveted  the 
crown  of  Scotland.  But  Duncan  was  King  and  his  life  was  a  barrier 
to  Macbeth's  ambition.  And,  as  Jezebel  learns  the  cause  of  Ahab's 
sulking,  so  Lady  Macbeth  is  made  aware  of  the  trouble  in  the  mind  of 
Macbeth ;— she  reads  a  letter  from  him  which  speaks  of  the  subject  and 
in  self-communing  she  says : — 

..."  thou  shalt  be 
What  thou  art  promis'd.    Yet  do  I  fear  thy  nature; 
It  is  too  full  o'  the  milk  of  human  kindness 
To  catch  the  nearest  way:  .  .  . 

What  thou  would'st  highly, 
That  thou  would'st  holily :  would'st  not  play  false, 
And  yet  would'st  wrongly  win :— Hie  thee  hither. 
That  I  may  pour  my  spirits  in  thine  ear ; 
And  chastise  with  the  valour  of  my  tongue 
All  that  impedes  thee  from  the  golden  round."   Mach.  1:5, 

*  Characteristics  of  Women.    Mrs.  Jameson. 


TRAGEDY  IN  BIBLE  AND  IN  SHAKSPEARE  89 

A  little  later,  Macbeth  enters  and  talks  it  over  with  his  wife.    Eager 
enough^  in  his  wicked  heart,  to  profit  by  her  bolder  spirit  and  "wrongly 

"  Macb.  Duncan  comes  here  to-night. 
Lady  M.  And  when  goes  hence  ? 
Macb.  To-morrow  as  he  proposes. 
Lady  M.  O  never  shall  sun  that  morrow  see 
.  .  .  He  that's  coming 
Must  be  provided  for;  and  you  t^^ill  put 
This  night's  great  business  into  my  dispatch."      7:5. 

Macbeth's  craven  heart  seems  to  tremble  at  the  thought  of  murder 
H.S  soliloquy  shows  him  full  of  remorse  and  fear  before  the  deed  is 
done;  but  his  wife  has  already  said: 

"Only  look  up  clear; 
To  alter  favour  is  to  fear: 
Leave  the  rest  to  me."        /.-j. 

Still  he  hesitates.  In  the  dead  hour  of  the  night,  he  and  his  guilty 
partner  discuss  the  situation ;  anxiously  he  says:  "//  we  should  failf'' 
and  she  answers  promptly: — 

"  IVe  fail. 
But  screw  your  courage  to  the  sticking-place. 
And  we'll  not  fail."         /;  7. 

Thus  Lady  Macbeth,  like  Jezebel,  urges  on  the  deed  of  guilt,  and 
makes  the  occasion  and  the  plot.  She  provides  that  the  King's  two  per- 
sonal attendants  shall  be  plied  with  liquor  until  they  fall  into  a  drunken 

lu  I  I  •  ^''^"  *^^  ^^^'^  ''  ^°"^'  suspicion  shall  be  turned  towards 
them,  by  throwing  blood  from  the  wounds  of  the  murdered  King  udo.i 
their  garments.  *    *^ 

Jezebel  and  Lady  Macbeth  each  succeed  in  their  respective  guiltv 
purpose.  Ahab  secures  Naboth's  vineyard,  after  the  treacherous  mur- 
der of  Its  owner,  and  Macbeth  obtains  the  crown  of  Scotland,-after  • 
the  deep  damnation  of  his  (Duncan's)  taking  off." 
And  nemesis  follows  similarly,  in  each  of  the  two  tragedies.  It  was 
prophesied  of  Ahab  and  Jezebel:  "In  the  place  where  dogs  licked  the 
blood  of  Naboth  shall  dogs  lick  thy  blood.  ..  .  The  dogs  shall  eal 
Jezebel  by  the  wall  of  Jezreel."    I  Kings  xxi.  19  33  ^  ''* 


90 


RELIGIOUS  WORLD  OF  SHAKSPEARE 


Both  these  prophecies  were  fulfilled.  Ahab  was  betrayed  in  battle 
and  was  killed  in  his  chariot,  and  his  blood,  that  was  spilled  upon  his 
chariot,  was  licked  by  the  dogs.  Jezebel  came  to  a  fearful  and  igno- 
minious death, — being  hurled  fn»n  a  chamber  window  while  insanely 
displa}ring  her  painted  charms  to  the  conquering  army,  as  they  passed 
in  procession,  and  her  body  was  torn  to  pieces  by  dogs  before  the  order 
for  her  burial  was  obeyed. 

WTiat  of  Macbeth?  His  guilty  heart  no  longer  leans  upon  the 
superior  courage  of  his  wife.  She  shrinks  from  further  blood,  but  he 
plunges  on  with  sanguinary  voracity,  from  crime  to  crime.  He  sheds 
blood  on  blood,  and — blood  is  on  his  trail.  All  through  his  career,  as 
King,  he  is  tortured  with  the  anguish  of  bitter  remorse: — 

"  They  say,  blood  will  have  blood. 
Stones  have  been  known  to  speak. 
Augurs  and  understood  relations  have  .  .  . 
Brought  forth  .  .  .  The  secret 'st  man  of  blood."        2: 2. 


And  so  it  comes  to  pass.  His  damnable  deeds  bring  judgment.  Like 
Ahab  he  comes  to  his  end  by  a  special  mark  directed  against  him  in 
battle,  but  not  before  he  has  suffered  the  terrors  of  a  guilty  conscience. 
The  horrors  of  hell  are  in  him,  and  his  brain  is  peopled  with  demons 
and  ghosts  as  he  cries : — 

"  Ha !  they  pluck  out  mine  eyes  I 
Will  all  great  Neptune's  ocean  wash  this  blood 
Clean  from  my  hand  ?    No ;  this  my  hand  will  rather 
The  multitudinous  seas  incarnadine 
Making  the  green — one  red."        2: 2. 

And  Lady  Macbeth's  conscience-stricken  soul  finds  no  peace,  day  or 
night.  She  walks  her  room  in  troubled  sleep  and  groans  over  her 
hand,  whose  deep,  dark,  blood-stain  is  seen  only  by  the  eyes  of  her  own 
guilty  soul : — 

"  What,  will  these  hands  ne'er  be  clean  ?  .  .  . 
.  .  .  Here's  the  smell  of  blood  still:  all  the  perfumes 
Of  Arabia  will  not  sweeten  this  little  hand.    Oh !  Oh !  Oh !" 

Thus  their  bloody  deeds  are  on  the  trail  of  the  guilty  pair,  as  those 
of  Ahab  and  Jezebel  pursued  them.    The  Lady  Macbeth  lives  her 


A.  I 


TRAGEDY  IN  BIBLE  AND  IN  SHAKSPEARE  gt 

crime  over  agmia  nuuiy  times,  until  her  reason  topples  from  its  throne 
and  she  dies  self-convicted,  self-condemned,  self-slaughtered, — mad. 

Prof.  Moulton,  like  Mrs.  Jameson,  sees  some  good  points  in  the 
Lady  Macbeth  such  as  "an  absence  of  self-seeking,"  a  constant 
thought, — "not  of  what  she  is  to  gain  by  the  crown  but  what  her  hus- 
band may  gain."  But  since  she  identifies  herself  with  her  husband's 
ambition  and  their  interests  are  not  separate,  but  one,  it  seems  difficult 
to  find  a  distinction  in  her  favor,  so  far,  at  least,  as  the  capital  crime 
of  Duncan's  murder  is  concerned.  If,  however,  any  virtue  is  con- 
ceded her  it  must  also  be  accredited  to  Jezebel,  since  she  sought  the 
vineyard  of  Naboth  in  order  to  gratify  the  covetous  whim  of  Ahab. 

Dr.  Stafford,  the  eminent  Catholic  lecturer,  sees  good  in  Macbeth 
and  only  evil  in  his  wife.  His  masterly  dramatic  exhibition  shows 
Macbeth  in  a  great  struggle  against  the  temptation  to  evil  and  a  yield- 
ing only  through  the  force  of  Lady  Macbeth's  influence  and  then,  step 
by  step,  led  on  by  the  demands  which  one  evil  deed  makes  upon  him 
for  another,  until  he  is  completely  and  irredeemably  environed  and 
overwhelmed.* 

These  opposite  views  of  his  greater  characters,  which  will  be  found 
to  vary,  from  one  extreme  to  the  other,  in  the  reviews  of  critics,  are 
among  the  evidences  of  the  subtlety  of  Shakspeare's  work. 

The  following  passage  from  Modern  Painters  by  John  Ruskin  is 
pertinent  at  this  point:  — 

"Shakspeare  always  leans  on  the  force  of  fate,  as  it  urges  the  final  evil: 
and  dwells  with  infinite  bitterness  on  the  power  of  the  wicked,  and  the  infinitude 
of  results  dependent  seemingly  on  little  things.  A  fool  brings  the  last  piece 
of  news  from  Verona  and  the  dearest  lives  of  its  noble  houses  are  lost :  they  might 
have  been  saved  if  the  Sacristan  had  not  stumbled  as  he  walked.  Othello  mislays 
his  handkerchief,  and  there  remains  nothing  for  him  but  death.  Hamlet  gets  hold 
of  the  wrong  foil,  and  the  rest  is  silence.  Edmund's  runner  is  a  moment  too 
late  at  the  prison,  and  the  feather  will  not  move  at  Cordelia's  lips.  Salisbury  a 
moment  too  late  at  the  tower,  and  Arthur  lies  on  the  stones  dead.  Goneril 
and  lago  have,  on  the  whole,  in  this  world,  Shakspeare  sees,  much  of  their 
own  way,  though  they  come  to  a  bad  end.  It  is  a  pin  that  Death  pierces  the 
King's  fortress  wall  with;  and  carelessness  and  folly  sit,  sceptered  and  dread- 
ful, side  by  side  with  the  pin-armed  skeleton." 

'As  a  further  illustration  of  the  various  opinions  on  this  subject  we  have  this 
from  Prof.  Sharp :— "Macbeth  is  a  man  without  real  scruples  although  faint 
images  of  restraining  voices  sometimes  chime  upon  his  inner  ear.  What  moral 
sensitiveness  he  possesses  is  only  sufficient  to  enable  him  to  enjoy  coddling  him- 
self for  his  regret  at  his  unfortunate  conduct,  to  make  of  him  a  sentimentalizing 
dealer  in  fine  phrases."  Of  Lady  Macbeth  he  says  she  "is  as  bare  of  moral 
scruples  as  her  husband."  "  Shakspeare's  Portrayal  of  the  Moral  Life."  Frank 
Chapman  Sharp. 


■ 


I 


93 


RELIGIOUS  WORLD  OP  SHAKSPBARB 


Commenting  upon  this  summary  of  certain  characteristics  of  Shak- 
speare,  a  writer  already  referred  to,  has  shown  that  "if  it  be  thus  in 
Shakspeare  and  in  the  world"  it  is  so  also  in  the  Bible.    He  says:— 

''Jezebel  and  Judas  have  it  all  their  own  way,  though  they  come  to  a  bad  end. 
In  that  sacred  book,  from  beginning  to  end,  good  men  lament  ihat  the  wicked 
'flourish'  here,  'like  a  green  bay-tree.'  That  'they  come  not  'nto  peril  like 
other  folk,  neither  are  in  trouble  like  other  men.'  David  could  not  understand 
this  till  he  'went  into  the  house  of  God  and  understood  the  end  of  these  men.' 
Granting  a  superintending  providence,  which  Shakspeare  ever  recognizes,  things 
come  to  pass  in  the  Bible,  and  in  the  world,  as  by  chance.  '  The  lot  is  cast  into 
the  lap  but  the  disposal  is  with  the  Lord.' 

"  The  most  solemn  predictions  in  Scripture,  are  fulfilled  seemingly  by  accident. 
In  the  Bible,  if  anywhere,  we  might  be  led  to  expect  the  gradual  development  of 
a  plot  or  principle;  whereas  we  meet  the  very  reverse  of  this.  It  was  foretold 
that  Ahab  should  not  return  in  peace.  He  accordingly  perished  in  battle.  But 
how  does  he  perish?  'A  certain  man  draws  a  bow  at  a  venture,  and  pierces  the 
King  between  the  joints  of  his  harness.'  It  was  also  predicted  that  '  dogs  should 
lick  his  blood.'  How  is  this  prophecy  fulfilled?  Is  the  body  exposed  to  purposed 
indignity?  No,  it  was  buried,  we  have  reason  to  believe,  with  respect.  But 
•one  washed  the  chariot  in  the  pool  of  Samaria; '  and  then  the  'dogs  came  and 
licked  up  the  blood,'  in  the  usual  course  of  events. 

"Jehu,  indeed,  affected  to  fulfill  the  prediction  concerning  Joram,  by  casting 
his  body  into  the  plot  of  Naboth,  the  Jezreelite.  But  Jehu  forgot,  and  would 
have  left  unfulfilled,  what  had  been  foretold  in  the  case  of  Jezebel.  He  gave 
orders  to  bury  this  '  cursed  woman,'  because  '  she  was  a  king's  daughter.'  But  he 
first  went  in  to  eat  and  drink.  Before  he  had  finished  his  meal,  the  dogs  had 
had  theirs;  and  then  he  remembered  the  word  which  the  Lord  had  spoken  by  the 
mouth  of  Elijah  the  Tishbite. 

Since,  then,  what  we  call  accident  seems  to  be  the  ruling  power,  where 
divme  interposition  is  clearly  exerted  (if  we  allow  it  ever  to  be  exerted  at  all), 
it  follows  that  Shakspeare,  in  representing  the  lives  of  the  greatest  and  best  of 
human  beings  as  the  sport  of  chance,  does  literally  follow  the  order  of  God  and 
nature.  He  is  bitter,  and  we  are  bitter  at  this  state  of  things,  because  we  find  it 
hard  to  realize  the  truth,  that  it  is  neither  a  man's  woridly  fortunes,  nor  the 
adherence  of  his  friends,  nor  the  fidelity  of  his  wife,  nor  the  time,  nor  the  manner 
of  his  death,  but  the  tenor  of  his  life,  which  determines  whether  he  be  property 
an  object  of  er.vy  or  pity.  Humanly  speaking,  what  is  there  more  horrible,  or 
more  unjust  in  <!^  ire.  than  that  a  good  man,  after  a  life  of  mortification  and 

obedience  to  hi.  s  will,  should  be  secretly  murdered  in  a  dungeon  at  the 

pleasure  of  a  light  cancer?  The  wicked  'have  done  to  him  what  they  listed" ' 
Had  this  been  narrated  merely  in  a  novel  or  a  play,  the  author's  morality  had 
doubtless  been  questioned,  and  he  had  been  accused  of  setting  an  injurious 
example.  All  other  means  failing,  better  have  introduced  an  angel  to  burst  the 
prison  door,  than  that  this  should  have  been.    But  God  teaches  otherwise." ' 

•  Shakspeare  and  the  Bible.    By  Rev.  T.  R.  Eaten,  M.  A.,  1857. 


TRAGBDY  W  BIBLE  Am  It,  SHAKSPEAm  „ 

splendor  and  many  others  of  ^hl  Ik  ""'^^  ''^''  '"  P^^^*-  ^nd 

The  reference  to  Mn  he  p-^^^f '  """^  °'  ""^^y"  ^"d  "formers, 
a  woman  was  a  chief  factor  fnT  hT^''''u""°''''''  ^^^^^^^  '"  ^^ich 
Shakspeare  when  he  Itte  m^^^^^^^^  f  «J^-  '"  the  mind  of 

death  of  John.    Herod  was  vHe  eno"!  ^t  '^!  ""''^  P^°"^^  *'"^ 

for  his  own  ^atificationTuVhtViZf  dlt^r J,t  ^^^^ 

Ltr  a^retnTs  iiL™^^^^^^^^^^  c^cler^S^^^^^^ 

H.  two  or  three  ^^^^^L^^^^^ZT^:^  ^^ 


and  evil  amongst  the  centra?  foTes  a^d  hther 'LT'  TT\  '°"'""  "^  8°«d 
appealed  to  and  developed  by  suddm  and  ~,^r,  """*'  °*  ''""'="  "a'^re.  as 
lated  wrongs,  or  plunged  in  overwhelmi^  «,  '  T^'^'^'  ''"''"^"  ^^  »-"™"- 
that  there  is  son,ethin/infi„itermo«  S  t"!  ;rthan''s:'•^""''•  ""^  '-- 
success -nobleness  of  soul,  fidelity  to  truth  ?n^  V  I   ^'*'  '^'«=  ""^  ^o^'dly 

stren^h  and  tenderness,  and  truth  fothve'e„d    TnTh    ""='"  '°^^  ''"'^  '°^^"^- 
this  fidelity  to  all  that  is  best  in  life  is  onL?^  "k.     "        T°''  '"*»'*=  «-^P«=riences 
But  when  Desdemona  expires  with  1  sl^L  i^H  r  ^T^^''  "*"= '°"  «^  ''^«=  '''self, 
when  Hamlet  no  more  drawl  hb  breath  S  Zt    °^  l"  '  '°^'"«  '^"  ''^'^  ^'«^«<1. 
last  liberated  from  the  rack  of  this  ^ulh  world         /^  V""'^''-'°"'='*  ^ear  is  a 
sacred  seal  on  their  great  soJiiws  and  greatHo"  S'  '^"*^•'-'•"^  -'  "is 
possessions  forever.    In  the  three  dr,m,.  k  ,       ■        '  ^^^^  '■'™'"  *'th  us  as 
or  rather  which  may  be  Lid  to  dorh "   dtma7  '"  ^"^'^^^r'"''  '''«  P-^**' 
severe  but  consolatory  calm  is  sdll  mor™        f      ."5""="'  '^^  same  feeling  of 
are  not  finally  resolved,  t^e  vir^u  sTh U'S  th'""^  "^'^  "'^"'"^  ^'"■ 
courage  and  endurance  to  wait/as  wellas  ZfidV    'I  P*n.Iexities  and  give 
the  virtues  of  forgiveness  and  geneTo  i^   of  5n2"       '""''  ""^  '^="  '""^ 
largely  illustrated.  generosity,  of  forbearance  and  self-control-arv 

Encyclopedia  Britannica.  Vol.  21.  p.  764. 


^ 


■'ri 


VI 

RELIGIOUS  THOUGHT  IN  THE  PLOTS  OF  THE  PLAYS 

It  seems  desirable  to  add  some  further  comments  to  the  thought  of 
the  religious  idea  which  enters  into  the  plots  of  the  plays  of  Shak- 
speare.  l\Not  that  (as  we  have  elsewhere  remarked),  he  ever  made 
religion  the  subject  of  the  drama.  But  all  humanity  was  his  theme  and 
he  recognized  the  universality  of  religion  in  man  and  gave  expression 
to  it  in  all  his  works. 

It  is  true  that  in  some  of  the  plays  the  religious  element  is  primitive 
and  crude.  But  the  scene  and  action  of  these  plays  are  pagan ;  yet  even 
here  worship  is  conceived  as  a  natural  order  and  the  gods,  who  are 
appealed  to  with  devotion  and  reverence,  are  clothed  with  moral  attrib- 
utes. It  cannot  be,  in  any  true  sense,  said  of  Coriolanus,  Titus  Andron- 
icus,  Timon  of  Athens,  Troilus  and  Cressida,  Cymbeline  or  Antony 
and  Cleopatra  that  they  are  atheist  or  infidel,  in  regard  to  religion. 
There  are  occasional  skeptical  utterances,  and  at  least  one  positive 
atheist: — Aaron  the  Moor, — whose  portrait  is  drawn  in  the  play  of 
Titus  Andronicus,  in  characters  blacker  than  his  skin. 

Shakspeare  never  conceived  an  infidel  of  amiable,  or  even  decent 
character.  Aaron,  who  "believed  no  God,"  was  a  monster  of  iniquity, 
a  brutal,  cruel,  demon  of  a  man,  without  a  spark  of  goodness,  who 
boasted  that :  "Aaron  will  have  his  soul  black  like  his  face."  His  deeds 
and  curses  were  of  the  foulest ;  he  found  sport  in  the  vilest  outrages, 
on  man  and  woman,  and  exclaimed : — 

"If  there  be  devils  would  I  were  a  devil 
T->  live  and  burn  in  everlasting  fire. 
So  I  might  have  your  company  in  hell. 
But  to  torment  you  with  my  bitter  tongue." 

Titus  And.  5;  T. 

Coleridge  has  well  said,*  "I  know  of  no  character  in  Shak.peare  to 
V  which  he  has  given  a  propensity  to  sneer  and  scoff  or  express  contempt 
but  he  has  made  that  man  a  villain." 


'Lectures  on  Shakspeare. 


94 


RELIGIOUS  THOUGHT  IN  PLOTS  OF  PLAYS.  55 

Even  in  the  minor  plays  we  find  a  constant  movement  toward  retri- 
bution and  judgment,  and  the  working  out  of  all  things  towards  the 
good  of  society.  The  sacrifices  of  the  virtuous,  the  sufferings  of  the 
good  who  are  sometimes  involved  in  the  evil  plots  of  the  bad,  and  the 
final  ignominy  and  death  of  the  wicked  always  lead  to  better  things. 

Take,  for  example,  the  play  already  alluded  to  and  what  do  we  find? 
At  the  outset  Titus  commits  a  serious  error  in  conceding  the  preten- 
sions to  the  throne  of  the  unworthy  Satuminus.  A  still  graver  wrong 
is  his  yielding  to  the  clamor  for  one  of  the  Goths  as  a  sacrifice  of  con- 
quest,—giving  up  to  slaughter  the  eldest  son  of  the  conquered  queen. 
There  follows  a  general  disorder.  The  country  is  humiliated  and  dis- 
graced by  its  Emperor's  consort  with  the  base  and  lustful  Queen 
Lavinia ;  the  fair  daughter  of  Titus  is  cruelly  outraged  and  butchered 
and  Titus  himself  is  victimized  with  the  loss  of  a  hand.  Revenge  upon 
the  brutal  sons  of  the  Queen  is  conceived  in  a  savage  mood  and  man- 
ner of  death ;  King,  Queen  and  Titus  are  each  involved  in  the  final 
tragedy.  Yet  all  the  movement  of  the  play  leads  toward  a  purging  of 
the  country  from  the  spirit  which  led  up  to  these  crimes,  and  brings 
about  a  new  and  happier  condition,  under  the  rule  of  the  experienced 
and  chastened  Lucius. 

It  is  in  the  major  plays,  however,  that  we  find  the  religious  thought 
rising  higher  and  is,  in  fact,  reverent,  Scriptural  and  Christian. 

It  has  been  said  that  the  works  of  Shakspeare  are  "the  logical  and 
fitting  sequence  of  the  old  mystery  play."  Mr.  Snider  says,  "this  seeks 
"^  to  give  in  a  religious  framework,  the  entire  history  of  man  from  the 
"  Creation  till  the  Judgment  Day,  as  it  is  presented  in  historic  con- 
''  tinuity  in  the  Old  and  New  Testaments.  The  Lord  and  the  Devil 
"  are  the  two  chief  characters,  who  appear,  in  person,  on  the  stage  and 
''  carry  on  the  conflict.  The  Devil  is  comic  in  these  old  plays,  so  are  all 
"  his  demons,  cohorts  and  earthly  representatives  such  as  Herod.  To 
"  the  simple  mind  of  the  people,  the  bad,  in  attempting  to  overthrow 
"  the  good  is  foolish,  ludicrous,  comic.  Evil  in  its  complete  circle  is 
"  self-destructive,  so  our  ancestors  laughed  at  the  Devil,  on  the  stage 
"^  at  least.  .  .  .  The  true  drama  must  have  all  these  elements, — it  must 
''  reveal  the  divine  way  of  dealing  with  the  world  as  the  mystery  play ; 
"  it  must  show  the  moral  germ  in  the  individual  as  the  morality  play ; 
"  it  must  be  life  incorporate,  as  the  interlude.  Now  Shakspeare  has  all 
"  these  elements,  not  in  isolation,  but  so  fused  together  in  the  heat  of 
"  his  poetic  conception,  that  they  make  something  altogether  new.  His 
"  drama  is  not  strictly  religious,  not  strictly  moral,  not  strictly  sen- 


fl«  RELIGIOUS  WORLD  OF  SHAKSPEARB 

''suous,  yet  it  is  all  three;  it  shows  the  world  order,  it  portrays  per- 
sonal character  in  the  deepest  sense."* 

But  it  must  be  observed  that  the  difference  between  Shakspeare  and 
the  old  religious  play-writers  is,  that  he  does  not  use  any  "religious 
framework"  to  set  forth  religion  and  he  never  places  the  Divine  Being, 
m  person  on  the  stage,  or  presents  a  spectacular  heaven  or  hell.«  The 
y       world  is  his  stage  and  all  mankind  are  his  characters.     He  makes 
these  to  move  in  a  consistent  and  uniform  ethical  order,  in  perfect  har- 
mony with  Scriptual  teaching.     In  fact,  as  Mr.  Snider  says,  "It  is 
herem  that  the  unique  and  all  surpassing  greatness  of  Shakspeare  lies  " 
Mr.  Snider  has  also  shown,  most  clearly,  in  his  treatment  of  the 
Tragedies  and  the  Comedies,  how  Shalcspeare  brought  "all  colliding 
elements  into  harmony.    The  solution  of  all  disturbing  and  conflicting 
agents"  has  one  fundamental  principle— the  return  of  the  deed  upon 
the  doer.    Man  has  that  which  he  has  done  brought  home  to  him  in 
the  end ;  his  action,  often  through  the  most  devious  and  subtle  passages 
sweeps  back  and  includes  himself.    Eternal,  divine  justice  it  may  be 
called,  indeed  it  is  found  already  named  in  some  of  these  plays,— 'jus- 
tice of  God.'  .  .  .  Tragedy  with  him  means,  not  death  merely,  but 
sacrifice.     Shakspeare's    tragedy    is  at  the    bottom,  mediatorial    and 
reaches  into  the  divine  scheme  of  the  world."* 

This  view  of  the  Tragedies  presents  to  many  readers,  a  new  lesson, 
of  the  greatest  breadth  and  value.  It  furnishes  a  key  to  many  of  the 
most  difficult  passages  and  explains  why  the  Poet  has  introduced  some 
characters  into  his  plays  which  are  otherwise  inexplicable. 

We  have  seen,  how  the  love  of  Romeo  and  Juliet  becomes  the  force 
which  leads  to  the  sacrifice,  not  only  of  the  lovers  themselves,  but  of 
all  who  stand  in  the  way  of  peace  between  the  warring  houses  of 
Capulet  and  Montague. 

We  see  also  how  Hamlet's  death  is  involved  in  the  death  of  his 
father's  murderer,  for  he,  too,  had  killed  a  father;  and  how  Ophelia 
is  sacrificed  through  love,  and  her  father  and  brother  are  also  involved 
m  the  tragedy,  which,  however,  brings  about  a  condition  of  general 
peace,  impossible  or  incomplete  while  any  of  them  lived. 

Richard  III.,  in  his  violence  and  crusade  of  murder,  is  an  instrument 
of  retribution,  completing  the  fall  of  the  houses  of  Lancaster  and  York 
which  had  kept  England  in  a  broil  for  a  long  period  of  years ;  and 
brought  about  the  first  crowning  of  an  English  King  by  parliamentary 

'The  Shakspeare  Drama,    Introduction  to  Tragedies. 
•See  chapter  on  Shakespeare  and  Immortality. 
'The  Shakspeare  Drama  (Tragedies). 


RELIGIOUS  THOUGHT  IN  PLOTS  OP  PLAYS  „ 

title  introducing  a  new  era  of  government  and  peace  to  England: 
while  Richard  comes  to  his  death  in  a  manner  exactly  fitted  to  hif  fear- 
ful  and  murderous  life. 

thJlltTr""^''""  °^  ^'^^"^  "^-  "  *  '^'P'^  »  »«^«'y  foreign  to 
but  he  ev^H  m''^  "  7-''""*  '*•  "*=  ^"  ''"P'°"»  '^"d  blasphemous 
but  he  evidently  beheved  in  the  fundamental  teachings  of  his  church 

fears  with-  conscience  is  a  word  that  cowards  use."  yet  at  another 
time  this  very  thought  turns  upon  him.  As  he  awake;  f 'om  a  tJ^Tw 
dream  he  exclaims  "O  coward  conscience,  how  dost  thou  afflict  mel" 
H.S  dreams  are  the  foreshadowings  of  the  realities  of  to-morrow^  judg- 
ment.  He  .s  m  terror  not  of  any  earthly  tribunal  or  of  physical  fear 
for  he  .s  no  coward.    The  awful  conflict  is  within  and  his  fe^rs  do  n^ 

"  Cold  fearful  drops  stand  on  my  trembling  flesh. 
Is  there  a  murderer  here  ?    No ;— Yes ;  I  am : 
Then  fly.— what,  from  myself?    Great  reason:  why? 
My  conscience  hath  a  thousand  several  tongues, 
And  every  tongue  brings  in  a  several  tale 
And  every  tale  condemns  me  for  a  villain: 
Methought.  the  souls  of  all  that  I  had  murder'd 
Came  to  my  tent:  and  every  one  did  threat 
To-morrow's  vengeance  on  the  head  of  Richard."     5;  j. 

JL^o-^'tS:!*  ""^  '"""'  '"'  '"  '-=  ""-»  0'  o*-    He 

"  By  the  apostle  Paul,  shadows  to-night 
Have  struck  more  terror  to  the  soul  of  Richard 
Than  can  the  substance  of  ten  thousand  soldiers ' 
Armed  in  proof,  and  led  by  Richmond."       5.J. 

He  describes  his  own  deeds  of  wickedness,  not  as  a  skeptic  would 
but  as  one  who  believes  in  the  terms  of  the  Bible :-  ' 

_  .  "  I  am  in 

bo  far  m  blood  that  sin  will  pluck  on  sin." 


^  RBUGIOUS  WORLD  OP  SHAKSPBARB 

And  while  Richard  does  not,  like  Richmond,  take  any  pioos  comfort 
from  the  thought  that  God  (upporti  him  in  hit  battles  (indeed,  how 
could  he?)  yet  he  recognizes  the  hand  of  Heaven  in  the  conflict: — 

" — the  self-same  heaven 
That  frowns  on  me  looks  sadly  upon  him." 

One  thing  in  this  play  does  not  seem  to  be  consistent  with  Shak- 
speare.  Lady  Anne  is  represented  as  yielding  to  the  strangely  fasci- 
nating tongue  of  Richard  under  circumstances  that  are  unnatural  and 
revolting  and  especially  so,  to  such  a  woman.  We  are  inclined  there- 
fore to  believe  that  this  scene  has  been  interpolated  for  stage  effect  and 
note  with  satisfaction  Coleridge's  opinion  that  "Shakspeare  did  not 
write  the  scene." 

Turning  to  the  play  of  Macbeth  we  have  already  noticed  the  strik- 
ing analogy  in  the  plot  with  the  Bible  account  of  Ahab  and  Jezebel.* 
Macbeth  is  troubled  with  a  keen  conscience,  but  it  does  not  stay  his 
hand.    He  beats  down  the  accusing  agent  by  reasoning: — 

"  I  am  in  blood 
Stepp'd  in  so  far,  that,  should  I  wade  no  more ; 
Returning  were  as  tedious  as  go  o'er." 

And  so  he  plunges  on,  deeper  and  deeper  in  blood,  sacrificing  all  who 
stand  in  his  way.  He  is  "hell  bound,"  as  Macduff  says,  and  not  until 
the  end  of  the  tragedy,  with  all  that  are  involved,  is  there  a  way  for 
peace  and  better  government,  by  the  nobler  Malcolm. 

The  play  of  Othelu)  opens  to  view  another  of  those  tangled  webs, 
which  are  woven  by  error  and  wrong,  and  which  Shakspeare  so  admir- 
ably shows  are  unraveled  only  by  the  order  of  the  ethical  law  and  divine 
justice.  Othello  is  at  the  head  of  the  army,  distinguished  above  the 
noblest  citizen  of  Venice.  His  bravery  in  war  has  placed  him  there,  but 
it  has  also  turned  the  heads  of  the  governing  powers  and  won  the  love 
of  the  beautiful  daughter  of  a  Senator,  who  marries  him  in  spite  of  her 
father's  opposition. 

This  is  a  great  error, — a  crime  against  the  order  of  nature  and  the 
proprieties  of  civilized  society.  Desdemona  shares  fully  in  this  viola- 
tion of  order  and  does  wrong  to  her  father  and  to  society,  by  eloping 
and  marrying  the  Moor.     This  marriage  is  neither  natural  or  moraL 


'See  chapter  on  "Tragedies  in  Bible  and  in  Shakspeare.' 


KSUCWUS  THOUGHT  JN  PLOTS  OP  PLAYS  „ 

AH  the  heroic  qu^itie.  of  Othello  do  not  jurtify  the  mewlHancc     It  i. 
.    n  the  nature  of  thing,  that  trouble  «>d  diKord  will  foltow     ^  J^ 
.ca^  law  cwnot  be  appea^d  until  the  breach  i,  heali     LrS^  ^i 
judgment  are  ineviuble.    And  in  thi.  ca«  they  follow  qSv  ^ 
sins,  already  committed,  have  a  speedy  progeny  ^ '  ^ 

.vmo!th^^^!.°*"'""°"*  "  '^"^^'"^  '°  °"^  ^'**  •«<!  commands  our 
sympathy.  It  does  not  seem  that  she  has  done  anything  to  call  for  so 
violent  an  cndmg.  Yet  she  wedded  herself  to  the  Mo^r  and  hi  f^ 
whom  she  «cnficed  race  instincts,  degraded  herself  ^xi^^Ily  and  i^ 
obeyed  her  father's  will,  takes  her  life.  "«.«a»y,  ana  ais- 

The  villain  lago  meets  the  conviction  and  death  of  ignominy  con- 

rLTmsSf  «  °^/f' \P«"'°"  «"d  sorrow,  mingled  with  contlpt 
Z^  '  ,  5^'  "^'^  *^'  *"'™PP*^  >"  the  meshes  of  a  traitor 
and  conspirator.  The  play,  as  a  whole,  is  a  striking  illustrat  ™  oJ 
Shakspeare^s  consistent  working  out.  through  all  the  vlrious  stage"  o 
hjs  works  towards  the  final  sacrifice  that  must  ever  attend  the  br^2. 
of  the  ethical  order  of  the  world.* 

tiolMnfti^'^'^hl"'  ""''  °'  ^"«^"*  ^•"^'  ^'■*'  *'»h  °"«=  «c^ 
tion.  infused  with  the  same  principles.    Indeed  in  the  plays  of  the 

Henry's  and  the  Richard's  that  we  find  most  of  i     pture  Ind  the  reli^! 

.ous  institutions  :-the  church,  the  saint  days,  the  holy  day",  tie  ^ 

and  the  prayer-book  are.  all  of  them,  in  frequent  evLncC    No  brS 

t^T^^^:i'::;rz^'  ~"''  *^'"  •""°'""  ^'^  -"^  -"^-^ 

Com"e2'iel°  *  "'"^  ^"^  "*""  '^'  "^^  "^^  ^  ^'^  °'  '^'  P'^'^ 

The  Mctchant  op  Venice  is  a  drama  of  mediation.    Mercy  is  its 

wS  T^.     T  I"  "'  '''"""'"^  "°'"-     ^''  S"id-  has  furnished  us 

Z!nf   1  Tu^'  commentar>'  on  this  play  from  which  we  desire  to 

"  CO  fr^      following  mteresting  paragraph :    "Many  lawyers  say  that  no 

court  in  Christendom  would  have  decided  that  a  pound  of  flesh  did 

"  "o   'S"''  *''  5^'  *''°"^''  *''^  """^  '"•^ht  not  have  expresslv  said 
^^  so.    This  may  be  the  case  but  it  does  not  aflfect  the  truth  of  "Shak- 

"  l^Z"  .7Prf'*"?«°"-  H'^  design  was  to  show  how  formal  law  con- 

"  LT^f  )  !t.    f  "^  *°  J^'''''''  *^'  •^'^^  '^"*^"  ^*  his  own  game.    The 

"t£  TndU  J°™  °    ''*.^''  "'^'^^  '""•■^  P°^"^""y  represented. 
Ihe  Judge,  the  people  and  justice  itself,  are  all  on  the  side  of  the 

|See  appended  Note  on  Othello  at  foot  of  this  article. 

^See  Henry  VIII  in  chapter  4. 

•The  quotations  from  these  plays  will  be  found  in  Book  IV  of  this  volume. 


IM  RBUGIOUS  WORLD  Of  SHAKSPBARS 

"  innocent  man,  yet  they  are  unabl<>  to  rescue  hin»  from  the  clutches 
"  of  an  odious  wretch  who  has  the  form  alone  on  his  side.  Still  the 
" Poet  must  find  for  us  seme  reconciliation  with  the  law:  it  would  be 
"most  ridiculously  inadequate  if  it  did  not  furnish  some  means  for 
"  reaching  the  Jew.  This  it  does,  inasmuch  as  it  is  made  to  seixe  the 
"  crime  of  Shylock  just  at  its  most  vulnerable  point,— criminal  inten- 
"  tion.  This  is  Portia's  next  point  against  him.  He  has  willed  the 
"  death  of  a  citiien  of  which  the  punishment  is  confiscation  and  death."' 

So  Shakspeare  does  not  bring  Antonio  to  death.  Shylock  himself 
must  be  the  sacrifice;— in  the  end  his  wealth  is  confiscated,  and  his 
credit  rained ;  yet  Mercy  step*  m  and  saves  his  life,  although  he  him- 
self had  no  mercy. 

Measure  for  Measure  is  still  more  clearly  a  play  of  mediatorshjp. 
Isabella  is  mediator  for  her  brother's  sin  and  at  the  sane  time  the 
accuser  of  the  sinful  Deputy.  Here,  as  in  the  Merchant  of  Venice, 
mercy  rises  above  law.  But  the  chief  purpose  in  the  play  is  to  bring 
about  a  better  observance  of  family  honor  and  personal  chastity.  The 
public  conscience  is  weak;  the  general  conduct  is  loose  and  the  family 
is  in  danger.  Mediation  and  sacrifice  redeem  society  and  family  life 
finds  an  example  in  the  marriage  of  the  Duke  and  Isabella.* 

These  comments  may  be  said  to  refer  to  the  ethical  principles  of  the 
Poet,  but  it  will  be  seen  that  his  ethics  are  profoundly  religious  and 
imbued  with  Scripture  reference  and  thought.  It  would  require  a  vol- 
ume by  itself  to  do  justice  to  this  theme.  But,  in  truth,  we  can  never 
do  it  justice.  Shakspeare  must  be  his  own  interpreter.  He  who  would 
undcrstond  the  Poet's  loftiest  teachings  must  study  him. 


I   : 


[Note.]  Mr.  Denton  J.  Snider  has  presented  a  view  of  Othello 
which  seems  to  us  at  variance  with  his  own  conception  and  treatment 
of  Shakspeare's  consistency  and  harmony  with  the  moral  law.  He 
says:  "The  true  motive  for  lago's  hate"  lies  in  this:  "He  considers 
that  Othello  has  destroyed  the  chastity  of  his  wife." 

This  supgestion  is  based  upon  two  of  the  soliloquies  of  lago.  in  the 
first  of  which  he  tells  himself  that  such  a  thing  "is  thought  abroad,"  to 
which  he  adds: — 

•The  Shakspeare  Drama  (Comedies). 
-  See  chapter  3,  Heroes  and  Heroines. 


KBtlGIOVS  THOUGHT  IN  PLOTS  OF  PLAYS  ,oi 

"I  know  not  if t  be  true 
But  I,  for  mere  tuipicion  in  that  kind 
Will  do,  81  for  lurety," 

Thit  }.  hi.  .peech  after  his  second  interview  of  conipiracv  with 

f^Sf  J  irvJ^oi^'"  "'"  next  solilonuy  I,^  recur,  ^"S^  ^^ 
thought  and  tyi  more  stress  upon  it;  but  one  looks,  in  vain   for  the 

LhL!.      -i    ^^""'.'"'"^'ry-'    Standing  alone,  they  amount  to 
nothing  as  evidence  against  Othello.    They  are  vivid  pictures  of  the 

reason  himself  mto  excuses  for  his  devilish  deeds  which  may  afford 

.«ulgV;t oTSLeiK  ^T^^S^iU tH ^°^"f r 

L^,"""."."?"*''  *'"'^^  "  P^^^'^'y  *''''•  ^^••-  Snider  cJm  never'  hat 
c^nZn  rr  ^'''"°  '"='  ^y  ''"  °^"  I'^nd.  repentant  an"  seT 
condemnmg  for  h.s  part  in  the  tragedy,  but  lamented  as  a  hero  ^thout 

tione'r"  Th  ^»l'  "''"*'*'°"=  ^''"'^  ^=^°  *"  ^^^'-ered  up  toThe  execu 
t^oner    amid    he  execrations  of  all,  as  "a  hellish  villain  "who  had 

to  announce  his  own  shame,  or  herald  his  self-degrac^ng  suspicion   " 
the  rum  of  Desdemona  to  serve  his  lust;— he  whose  onininn  „,"""« 

What  IS  st.ll  more  to  the  pomt:-Had  Othello  been  guilty  with  th « 


109 


RELIGIOUS  WORLD  OF  SHAKSPEARB 


Can  one  imagine  a  man  like  lago  being  silent  when  confronted  by 
Othello  in  the  presence  of  the  officers  of  the  law  with  this: — 

"  Will  you  I  pray  demand  that  demi-devil 
Why  he  hath  ensnar'd  my  soul  and  body?" 

Had  he  possessed  any  reasons  for  suspicion,  lago  would  most  assur- 
edly have  answered  this  challenge.  Nothing  that  we  can  conceive  of, 
would  have  wrought  so  much  in  his  favor  as  a  plea  of  partial  justifica- 
tion such  as  this  would  have  been.^ 

And  then,  does  Othello  himself,  in  his  last  moments,  exhibit  any 
trace  of  self -conviction?  In  the  presence  of  the  same  officers,  and  of 
lago  and  his  wife  Emilia,  he  says : — 

"  Speak  of  me  as  I  am :  nothing  extenuate. 
Nor  set  down  aught  in  malice :  then  you  must  speak 
Of  one  that  loved  not  wisely,  but  too  well." 

One  has  not  far  to  seek  for  the  real  cause  of  lago's  hate.  Othello 
appointed  Cassio  instead  of  himself  to  the  coveted  lieutenancy.  It  is  a 
case  of  disappointed  ambition  and  he  is  bent  on  revenge.  "I  do  hate 
him,"  he  tells  Brabantio,  "  as  I  do  hell-pains."  He  knows  well  that  no 
ordinary  means  will  accomplish  the  downfall  of  a  man  like  Othello. 
His  plot,  therefore,  is  conceived,  with  all  circumstance  and  detail,  so 
as  to  arouse  jealousy  in  the  one  thing  that  would  touch  the  Moor  to 
the  quick.  This  he  does  with  masterly  skill  and  cunning,  making 
Roderigo,  Cassio,  and  his  own  wife,  all  instruments  of  his  devilish  plot 
until  he  sets  on  fire : — 

"  One,  not  easily  jealous,  but,  being  wrought, 
Perplexed  to  the  extreme ;  .  .  .  threw  away  a  pearl." 

*Prof.  Sharp  regards  lago  as  conscienceless.  "He  desires  Roderigo's  money, 
Cassio's  place,  possibly,  too,  the  satisfaction  of  avenging  himself  upon  Othello  for 
prefering  a  book-crammed  student  to  a  man  of  affairs  like  himself,  and  for  being 
the  (innocent)  occasion  of  false  reports  about  his  wife's  unfidelity.  ...  He 
finds  an  actual  enjoyment  in  his  villainy,  not  primarily  because  he  wants  revenge, 
but  because  he  delights  in  his  sense  of  strength  and  skill  that  is  awakened  by 
successful  intrigue.  He  chuckles  over  his  disguise  and  plays  with  it;  he  becomes 
so  fascinated  with  the  game  that  he  half  forgets  the  ends  for  which  it  was 
originally  undertaken  and  we  hear  about  his  marital  jealousy  of  the  Moor  'gnaw- 
ing his  inwards,'  and  even  of  a  similar  jealousy  of  Cassio.  "Shakespeare's  Por- 
trayal of  a  Moral  Life." 


VII 


SHAKSPEARB  AND  IMMORTALITY. 

It  has  been  said  that  "Christianity  has  failed  to  express  itself  in  any 
adequate  drama.  ^  But  this  may  be  simply  a -.  acknowledgment  that 
the  drama  is  inadequate  to  express  it.  The  greatest  things  of  the 
Chnsfan  rehgion  are  inexpressible.  The  drama  deals  with  visible 
thmgs;  It  can  only  represent  the  unseen  in  so  far  as  material  things 
can  embody  .t.  But.  as  the  Apostle  Paul  says:  "The  things  which 
are  seen  are  temporal;  but  the  things  which  are  not  seen  are  eternal  " 

It  has  also  been  said  that  "for  Shakspeare,  in  the  matter  of  religion, 
the  choice  lay  between  Christianity  and  nothing."^  If  it  be  meant  that 
for  purposes  of  dramatization  he  made  choice  of  'nothing'  in  religion 
then  we  agree  with  the  writer  and  the  absence  of  any  great  reli^ous 
drama  by  Shakspeare  is  explained.  A  religion  which  consists  of  tem- 
pies,  cathedrals,  robes,  ritual,  forms,  sacrificial  offerings  and  proces- 
sions, may  be  dramatized;  but  to  Shakspeare.  Christianity  was  inex- 
pressibly greater.  Even  his  genius  could  not  reach  the  unseen  things 
which  are  spiritual,  and  embody  them  as  creatures  of  nature  and  of 
sense. 

All  attempts  at  the  dramatization  of  Heaven  and  Hell  are  necessarily 
grotesque,  and  are  infinitely  below  the  real  and  true.  Heaven  can  only 
be  seen  by  the  heavenly  character.  Hell  is  unreal  to  the  speculative 
thinker,  but  terribly  real  to  the  conscience  of  the  wicked  doer 

Immortality  is  not  a  subject  for  the  drama.  Art  cannot  paint  if 
poetry  cannot  attain  unto  it;  genius  cannot  discover  it;— the  best  that 
they  can  do  is  to  portray  expressions  of  the  human  in  whose  soul 
immortality  is  an  abiding  hope. 

It  has  often  been  said  that  the  greatest  of  all  dramatists  had  no  soul 
for  the  immortal,  because  he  did  not,  like  Homer,  Virgil,  Dante  Mil- 
ton, and  Goethe,  enter  the  realm  of  an  imaginary  heaven  or  hell.  Even 
Ur.  Strong  dwells  upon  this  thought  as  a  limitation  in  Shakspeare  He 
says,  almost  mournfully,  "Shakspeare  has  no  heaven  and  no  hell,"«  and 

|0.  Santayana  in  The  New  World,  Dec,  1896. 
The  Great  Poets  and  their  Theology. 

103 


■ii' 


i 


flat  RELIGIOUS  WORLD  OP  SHAKSPEARB 

quotes  Scherer,»  as  saying:    "It  is  on  the  boundaries  of  the  invisible 
world  that  Shakspeare's  vision  fails." 

But  it  seems  to  us  that,  in  nothing  is  the  universal  quality  of  Shak- 
speare's genius  seen  more  clearly,  than  in  the  fact  that  he  presented 
the  Eternal  through  human  experience,  in  its  infinite  variety  of  hopes 
and  fears,  the  working  of  conscience,  the  basis  of  ethical  thought,  and 
the  common  looking  forward  of  all  men  towards  judgment  and  a  here- 
after. He  was  too  fully  and  truly  the  poet  of  the  worid's  realities  to 
attempt  a  picture  of  the  divine,  or  build  a  drama  upon  the  immortality 
cf  man.    He  did  not  essay  to  gild  the  stars  or  illuminate  the  sun. 

But  he  was  also,  too  great  and  too  true,  to  the  highest  thought  and 
aspiration  of  the  human  mind  to  ignore  its  loftiest  conceptions  and 
hopes.  Essentially,  he  treats  the  subject  of  immortality  as  the  Bible 
does.  The  Scriptures  proceed  upon  the  assumption  that  Immortality  is. 
They  do  not,  in  an)  definite  form,  announce  it,  or  affirm  it.  From  Gen- 
esis to  Revelation  there  is  no  defining  word,— no  special  statement 
of  it.  The  fact  of  the  after-life  is  not  declared,  but  taken  for  granted. 
It  is  whispered  in  every  promise  to  dying  man ;  it  is  assumed  in  the 
doctrine  of  salvation;  it  is  involved  in  the  resurrection,  in  the  final 
adjustment,  in  the  law  of  rewards  and  punishment,  in  justice  and  judg- 
ment, in  Heaven  and  Hell.  In  all  Christ's  teachings  he  never  refers 
to  the  future  life  as  a  subject  in  doubt,  or  needing  to  be  affirmed.  He 
taught  its  conditions,— the  fact  he  assumed.  When  the  Apostle  Paul 
says,  "this  mortal  must  put  on  immortality,"— the  theme  of  his  dis- 
course is,  life,  death  and  the  resurrection :— immortality  is  a  logical 
sequence. 

So  also,  Shakspeare  does  not  make  the  spiritual  realm  a  subject  of 
the  drama.  There  are  no  spectacular  heaven  or  hell  in  his  plays.  He 
seems  to  have  recognized  that  the  realities  of  the  spiritual  world  are 
not  for  the  stage, — that  immortality  can  only  be  declared  in  the  faith 
and  the  hopes  of  human  experience.  It  is  true  that  some  of  the  numer- 
ous personnel  of  his  plays  express  doubts  about  the  after-life ;  but  in 
such  cases,  the  character  or  circumstances  of  the  doubter,  point  to  it 
as  a  generally  recognized  fact,  and  our  Poet  never  puts  into  the  lips 
of  any  sane  or  credible  witness  any  doubt  on  the  subject.  The  doubter 
is  either  a  pagan  or  a  dreamer.  Even  Hamlet,  whom  Dr.  Strong  espe- 
cially quotes,  while  contemplating  deliverance  from  himself  by  suicide, 
recognizes  the  after-life : — 

'The  quotation  is  prohaWy  from  E   H.  A.  Scherar,  the  French  critic,— not 
W.  Scherer,  the  more  recent  German  author. 


105 


HHAKHPEARB  AND  IMMORTALITY 

"  O I  that  this  too  too  solid  flesh  would  melt. 
Thaw,  and  resolve  itself  into  a  dew! 
Or  that  the  Everlasting  had  not  fix'd 
His  canon  'gainst  self-slaughter!   O  God!  O  God! 
How  weary,  stale,  flat,  and  unprofitable 
Seems  to  me  all  the  uses  of  this  world  1"    I:^, 

In  a  morbidly  speculative  mood  he  says:— 

"  To  be,  or  not  to  be,  that  is  the  question : 
Whether  'tis  nobler  in  the  mind,  to  suflFer 
The  slings  and  arrows  of  outrageous  fortune. 
Or  to  take  arms  against  a  sea  of  troubles. 
And  by  opposing,  end  them?— To  die,— to  sleep  — 
No  more;  and,  by  a  sleep,  to  say  we  end 
The  heartache,  and  the  thousand  natural  shocks 
That  flesh  is  heir  to,— 'tis  a  consummation 
Devoutly  to  be  wish'd.    To  die,— to  sleep  ;— 
To  sleep!  perchance  to  dream.' 

ahSlt  he  fon^'h  ^!.°°7  T^  ^^  ''  '™"^^^'^  ^y  '^^  ~"""0"  faith; 
almost,  he  falls  back  mto  the  reasonableness  of  a  future,  as  he  says:— 

"Ay,  there's  the  rub; 
For  in  that  sleep  of  death  what  dreams  may  come. 
When  we  have  shuffled  off  this  mortal  coil, 
Must  give  us  pause." 

pulues  Wm:-  ^^'""^"^  '''°"^^*  '°  °"'  contemplating  suicide,  but  it 


m 


^m 


^ 


^  "  There's  the  respect 

That  makes  calamity  of  so  long  life: 

For  who  would  bear  the  whips  and  scorns  of  time 

The  oppressor's  wrong,  the  proud  man's  contumely. 

The  pangs  of  dispriz'd  love,  the  law's  delay. 

The  insolence  of  office,  and  the  spurns 

That  patient  merit  of  the  unworthy  takes. 

When  he  himself  might  his  quietus  make 

With  a  bare  bodkin?  who  would  these  fardels  bears, 


if  t 


! 


•ill 


'1 


nC  RELIGIOUS  WORLD  OF  SHAKSPEARB 

To  grunt  and  sweat  under  a  weary  life ; 
But  that  the  dread  of  something  after  death, 
The  undiscovered  country,  from  whose  bourn 
No  traveler  returns?"  5;  /. 

Illustrations  in  this  play  are  almost  without  number,*  of  the  thought, 
current  among  all  mankind,  in  all  ages,  that  we  have  a  moral  nature, 
subject  to  laws  that  are  not  material  or  finite ;  and  the  thought  of  an 
after-life  runs  through  them  all: — 

"  All  that  lives  must  die 
Passing  through  nature  to  eternity." 

The  chief  incidents  proceed  upon  the  supposition  of  a  deathless  spirit 
and  all  of  its  finest  passages  involve  the  thought.  When  Hamlet's 
friend  Horatio  discusses  the  uncanny  appearance  of  the  ghost  he  tells 
how: — 

"  When  the  cock  crew 
...  it  started  like  a  guilty  thing 
Upon  a  fearful  summons." 

And  Marcellus,  an  officer,  who  had  been  one  of  the  watch  says : — 

"  It  faded  on  the  crowing  of  the  rock. 
Some  say  that  ever  'gainst  that  season  comes 
Whereon  our  Saviour's  birth  is  celebrated, 
The  bird  of  dawning  singeth  all  night  long." 

Hamlet  himself  thinks  of  an  after-life  when  he  says: — 

"  Would  I  had  met  my  dearest  foe  in  Heaven 
Ere  I  had  ever  seen  that  day,  Horatio !" 

And  when  he  is  assureu  by  his  friend  that  they  have  seen  his  father's 
ghost,  walking  at  the  dead  hour  of  the  night,  he  says : — 

"  My  father's  spirit  in  arms !  all  is  not  well 
I  doubt  some  foul  play :  would  the  night  were  come ! 
lill  then,  sit  still  my  soul.    Foul  deeds  will  rise, 
Though  all  the  earth  o'erwhelm  them,  to  men's  eyes."    1: 2. 


*See  "  Death  "  in  Scripture  Themes. 


1(1 


SHAKSPBARB  AND  lilMORTAUTY  tor 

At  midnight,  the  ghost  appears  and  Horatio  beseeches  Hamlet  not 
to  follow  its  beckoning,  but  Hamlet  says : 

"  Why,  what  should  be  the  fear? 
I  do  not  set  my  life  at  a  pin's  fee ; 
And,  for  my  soul,  what  can  it  do  to  that. 
Being  a  thing  immortal  as  itself?"  /.-  ^ 

In  the  mind  of  Hamlet  his  father's  spirit  and  his  own  soul  are  not 
merely  immaterial  shadows  of  the  mortal  life.but  distinct  existences,  not 
subject  to  material  Xavi  •.—spirits,  with  an  after-life.  The  ghost  in  the 
play  is  made  to  express  the  certainty  of  this  after-life  and  of  a  judg- 
ment therein.  As  he  describes  the  murder  which  deprived  him  of  his 
mortal  life,  he  says: — 

"Thus  was  I  ....  at  once  dispatch'd 
Cut  off  even  in  the  blossoms  of  my  sin ; 
Unhousel'd,^  disappointed,"  unanel'd' 
No  reckoning  made,  but  sent  to  my  account 
With  all  my  imperfections  on  my  head."  7;  5. 

There  is  not  a  shadow  of  a  doubt  of  a  future  state  in  the  mind  of 
Hamlet  when  he  contemplates  revenge  by  killing  the  King,  He  says: 

"  Now  might  I  do  it,  pat,  now  he  is  praying; 
And  now  I'll  do't:  .  .  ." 

But  he  reflects  that  to  kill  the  King  when  he  is  in  the  act  of  devo- 
tions would  defeat  his  purpose : — * 

'Without  communion  or  death-bed  rites. 

"Not  appointed,  not  prepared. 

•Without  extreme  unction. 

•Prof.  Sharp,  to  whose  new  book  reference  is  made  in  the  introductory  preface 
offers  the  following  comr.ents  on  this  subject:    "The  reputation  of  Hamlet  as 
the  typical  doubter,  the  imaginative  incorporation  of  the  spirit  of  Montaigne,  is 
one  of  the  most  extraordinary  vagaries  of  Shakspearean  criticism.    Here  is  a  t^n 
whose  fate  turns  -jpon  a  visit  irom  a  disembodied  spirit;  a  man  who  is  expected 
by  his  father  to  count  it  a  double  wrong  for  the  victim  of  assassination  to  be  cut 
off  m  the  Midst  of  his  sins,  w-th  no  chance  to  purge  his  soul  by  the  ministrations 
of  the  pnest;  a  man  who  fears  no  ghost,  because  he  can  say: 
'  And  for  my  soul,  what  can  it  do  to  that. 
Being  a  thing  immortal  as  itself?' 
a  man.  when  the  opportunit;-  to  discharge  his  commission  thrusts  itself  upon 
mm,  succeeds  in  disguising  to  himself  his  own  unwillingness  to  uke  the  irrevoca- 


;  ! 


xee  RBUGIOUS  WORLD  OP  SHAKSPEARB 

".  .  .  and  so  he  goes  to  heaven: 
And  so  am  I  reveng'd?    That  would  be  scann'd: 
A  villain  kills  my  father;  and,  for  that, 
I,  his  sole  son,  do  this  same  villain  send 

To  heaven." "No, 

When  he  is  drunk,  asleep,  or  in  a  rage ; 

...  or  about  some  act 

That  has  no  relish  of  salvation  in't: 

Then  trip  him,  that  his  heels  may  kick  at  heaven ; 

And  that  his  soul  may  be  damn'd,  and  black 

As  hell,  whereto  it  goes."  j;. 

The  one  thought  of  revenge  pursues  him  constantly  but  Hamlet  never 
loses  sight  of  the  future  life.  Indeed  the  whole  play  proceeds  upon  the 
thought  of  an  hereafter.    Ophelia,  speaking  to  her  brother,  says:— 

"  Do  not,  as  some  ungracious  pastors  do, 
Show  me  the  steep  and  thorny  way  to  heaven; 
Whils't,  like  a  puff 'd  and  reckless  libertine. 
Himself  the  primrose  path  of  dalliance  treads."      /;  j. 

Even  the  Scripture  account  of  judgment  day,  is  described  in  I  Cor. 
XV.  52,  iii  brought  to  mind.  In  the  burial  scene  of  Ophelia  the  Priest 
declines  to  observe  all  the  usual  religious  rites  because,  he  says:— 

"  Her  death  was  doubtful ; 
And  but  that  great  command  o'ersways  the  order 
She  should  in  ground  unsanctified  have  lodg'd 
Till  the  last  trumpet." 

taertes,  the  brother  of  Ophelia,  answers  the  priest  thus: 


I     I 


"  I  tell  thee  churlish  priest 
A  minist'ring  angel  shall  my  sister  be. 
When  thou  liest  howling." 


5--r- 


We  step  by  the  consideration  that  to  kill  one  in  prayer  is  to  send  his  soul  to  a 
better  world;  a  man  so  completely  dominated  by  the  religious  view  of  life  that 
he  falls  into  the  error  of  mistaking  results  of  his  own  insight  for  the  miraculous 
interference  of  Providence  in  his  behalf.  Truly,  a  sceptic  of  this  kind  would  have 
little  to  fear  from  the  fires  of  the  Inquisition.  Shakspeare's  Portrayal  of  the 
Moral  Life,  pp.  210,  211. 


SHAKSPBARB  AND  IMMORTAUTY  ,09 

And  the  play  of  HAiiutr  it  not  exceptional  in  the  treatment  by  Shak- 
«p«ire  of  the  doctrines  associated  with  the  thought  of  immortality.  In 
all  his  works  the  after-life  is  assumed. 

Macbeth  it  is  true,  ever  tries  to  reason  himself  into  a  materialism, 
which  would  jump  (risk)  the  life  to  come."  Yet  the  thought  of  the 
hereafter  pursues  him.  in  his  worst,  as  well  as  his  best  moments:- 

_  "...  the  bell  invites  me. 

Hear  it  not  Duncan ;  for  it  is  a  knell 
That  summons  thee  to  Heaven  or  to  Hell." 

The  same  thought  comes  to  him  with  increasing  force  as  he  dis- 
misses his  hired  assassins  to  do  their  work  of  death  to  Banquo:— 

"  Banquo,  thy  soul's  flight 
If  it  find  Heaven,  must  find  it  out  to-night." 

In  his  better  thoughts  he  is  troubled  that  he  cannot  pray:— 

"...  wherefore  could  I  not  pronounce  amen? 
I  had  most  need  of  blessing,  and  Amen 
Stuck  in  my  throat." 

While  he  is  ever  anxious  to  make  gain,  at  any  cost,  in  this  life  the 
judgment  of  the  life  to  come  constantly  haunts  him.     In  terror  he 

in.    r  "But  let 

The  frame  of  things  disjoint,  both  the  world's  suffer 

Ere  we  will  eat  our  meal  in  fear,  and  sleep 

In  the  affliction  of  these  terrible  dreams 

That  shake  us  nightly:  better  be  with  the  dead. 

Whom  we  to  gain  our  peace,  have  sent  to  peace. 

Than  on  the  torture  of  the  mind  to  lie 

In  restless  ecstasy."  Macb.3:s. 

caftueeT^H^'hlf  .'''*''  '"  the  safeguards  which  his  fertile  mind 
tinguished  families.     He  says:  — 

"  There  is  not  one  of  them  but  in  his  house 
I  keep  a  servant  fee'd." 


;| 


1 10 


RBUGIOUS  WORLD  OP  SHAKSPBARB 


Yet  the  ghouU  of  hit  victims  trouble  him.  His  conscience  "«  .  .lot 
down."  Strong  in  his  schemes  of  blood,  he  is  weak  in  his  superstitious 
dependence  upon  the  miserable  charm  of  the  witches:  — 

"  I  will  to  th'  weird  sisters: 
More  shall  they  speak ;  for  now  I'm  bent  to  know, 
By  the  worst  means,  the  worst. 

It  is  very  natural  that  such  a  man,  wrought  up  to  a  pitch  of  frenzy, 
at  the  news  of  the  death  of  Lady  Macbeth  should  exclaim:  "Life's 
but  a  walking  shadow." 

The  play,  as  a  whole,  presents  a  fearful  picture  of  a  man  who  trusted 
in  the  powers  of  evil  to  sustain  him  in  his  wrongdoing,  and  did  his 
best  to  discredit  the  retribution  of  the  future  life.  But,  as  the  play  pro- 
ceeds, one  has  no  fear  of  the  reputation  of  Heaven.  The  portrait  drawn 
by  Macduff  is  strongly  drawn,  but  true : — 


"  Not  in  the  legions 
Of  horrid  Hell  can  come  a  devil  more  damn'd 
In  evils  to  top  Macbeth." 


4-3' 


When  he  dies  like  a  mad  beast  at  bay  and  peace  reigns  with  the 
"grace  of  Grace"  no  one  can  feel  that  testimony  has  been  borne  against 
the  immortality  of  man. 

Again,  very  much  that  is  best  in  Romeo  and  JutiET  would  be  absent 
if  the  religious  element  were  eliminated,  and  there  would  be  no  meaning 
to  the  religion  in  the  play  without  the  thought  of  the  hereafter. 

When  Juliet  lies,  apparently  dead,  through  the  agency  of  the  potion 
administered  by  the  friar,  her  father  cries : — 

"  O  child !  O  child !  my  soul  and  not  my  child ! — 
Dead  art  thou  I  alack  I  my  child  is  dead  I 
And  with  my  child  my  joys  are  buried." 

And  the  old  friar  replies : — 

"  Peace,  ho,  for  shame,  confusion's  cure  lives  lot 
In  these  co"  fusions.    Heaven  and  yourself 
Had  part  in  this  fair  maid ;  now  Heaven  hath  all. 
And  all  the  better  is  it  for  the  maid; 
Your  part  in  her  you  could  not  keep  from  death ; 
But  Heaven  keeps  His  part  in  eternal  life. 


SHAKSPUARB  AND  IMUORTAUTY  ,„ 

The  most  you  sought  was  her  promotion ; 
For  t'was  your  heaven,  she  should  be  advanc'd: 
And  weep  you  now,  seeing  she  is  advanc'd 
Above  the  clouds,  as  high  as  heaven  itself?" 

And  when  Romec  inquires  the  news  of  his  servant  he  asks:— 

"  How  doth  my  lady?    Is  my  father  well? 
How  doth  my  lady  Juliet?    That  I  ask  again: 
For  nothing  can  be  ill,  if  she  be  well." 

The  servant  answers: — 

"  Then  she  is  well,  and  not'iing  can  be  ill. 
Her  body  sleeps  in  Capel's  monument, 
And  her  immortal  part  with  angels  lives." 

The  play  of  Richard  III.  teems  wi-h  suggestion  of  the  after-life.  It 
IS  in  the  dream  of  the  Duke  of  Clarence;  as  he  lies  in  prison,  with  the 
prospect  of  death  before  him  he  says : — 

"  That  as  I  am  a  Christian  faithful  man, 
I  would  not  spend  another  such  a  night 
Though  t'were  to  buy  a  world  of  happy  days." 

And  when  Brakenbury  asks  him  if  he  did  not  "awake  at  this  sore 
agony"  he  says: — 

"No,  no,  my  dream  was  lengthen'd  after  life; 
O,  then  b^gan  the  tempest  of  my  soul ! 
I  pass'd,  methought,  the  melancholy  flood 
With  that  sour  ferryman  which  poets  write  of. 
Unto  the  kingdom  of  perpetual  night."  Rich.  III.  i:  4. 

The  future  state  is  in  the  con»  Tsation  of  the  two  murderers  as  they 
talk  of  "conscience"  and  "judgment-day;"  and  in  King  Edwards 
reflections,  as  he  says : — 

"  I  every  day  expect  an  ambassage 
From  my  dear  Redeemer  to  redeem  me  hence ; 
And  more  to  peace  my  soul  shall  part  to  Heaven 
Since  I  have  made  my  friends  at  peace  on  earth." 


lU 


RELIGIOUS  WORLD  OP  SHAKSPBARB 


I 


\u 


iV' 


In  Queen  Margaret's  cur»es  upon  the  King  and  in  Richard's  forecut 
of  the  coming  judgment  upon  himself  we  find  the  same  thought  of  the 
after-life. 

How  beautiful  are  the  lines  of  Lorenzo  to  Jessica  in  the  Mkrcrant 
OP  Vbnice,  but  how  meaningless  they  would  be  without  the  thought  of 
immortality: — 

"  Sit,  Jessica:  look  how  the  floor  of  Heaven 
Is  thick  inlaid  with  patines  of  bright  gold ; 
There's  not  the  smallest  orb,  which  thou  behold'st. 
But  in  his  inotion  like  an  angel  sings. 
Still  'quiring  to  the  young-ey'd  cherubins: 
Such  harmony  is  in  immortal  souls ; 
But,  whil'st  this  muddy  vesture  of  decay 
Doth  grossly  dose  it  in,  we  cannot  hear  it." 

Mer.  of  Ven.  $1. 

In  the  Sonnets,  too,  the  Poet  presents  this  truth:— 

"  Thou  by  thy  dial's  shady  stealth  may'st  know 

Time's  thievish  progress  to  eternity." 
"  Thy  gift,  thy  tables,  are  within  my  brain 

Full  character'd  with  lasting  memory, 

Which  shall  above  that  idle  rank  remain. 

Beyond  all  date,  even  to  eternity." 

The  scene  in  II  Hbnry  VI.  at  the  death  of  Cardinal  Beaufort,  quoted 
at  length  elsewhere  in  this  volume,»  is  a  striking  testimony  of  this  mor- 
tal  looking  for  immortality.  Commenting  on  this  scene  Schlegel 
remarks :  "Can  any  other  poet  be  named  who  has  drawn  aside  the  cur- 
^'  tain  of  eternity  at  the  close  of  this  life  with  such  overpowering  and 
'■  awful  effect?  And  yet  it  is  not  mere  horror  with  which  the  mind  is 
"  filled,  but  solemn  emotion;  a  blessing  and  a  curse  stand  side  by  side; 
"  the  pious  King  is  an  image  of  the  heavenly  mercy  which,  even  in  the' 
"  sinner's  last  moments  labors  to  enter  his  souL  "* 

If  any  are  looking  for  a  final  word  on  this  great  subject  let  them  not 
ask  it  of  Shakspeare.    But  if  we  would  find  a  consistent  and  faithful  wit- 

•Scc  "Death"  in  Scripture  Themes. 
'Dramatic  Literature.    A.  W.  Schlegel. 


SHAKSPBARB  AND  IMMORTALITY 


us 

neu  to  the  Scriptural  doctrine  of  Immortality  we  mav  turn  with  proSt 

to  the  teitunony  of  all  hi.  great  drama.  ™  witn  profit 

Nowhere  doe.  Shalcpearc  conflict  with  the  eloriou.  assurance  nf 

Je.«^Chn.t  "who  both  brought  life  and  immorSlityT  iS^Tr^u^' 

J'pi7w"*i^i^^'  "**  *  '"°'*  "^""^  ''""^'^  of  the  mind  of 
the  Poet  himwlf  m  his  most  noble  rennet :— 

"  Poor  Mul,  the  centre  of  my  sinful  earth, 
Fool'd  by  those  rebel  power,  that  thee  array. 
Why  do.t  thou  pine  within,  and  suffer  death, 
Pimtmg  thy  onward  walls  so  costly  gay? 
Why  so  large  cost,  having  so  short  a  leaw. 
Dost  thou  upon  thy  fading  mansion  spend? 
Shall  worms,  inheritors  of  this  excess, 
Eat  up  thy  charge  ?    Is  this  thy  body's  end  ? 
Then,  soul,  live  thou  upon  thy  servant's  loss. 
And  let  that  pine  to  aggravate  thy  store; 
Buy  terms  divine  in  selling  hours  of  dross; 
Withm  be  fed,  without  be  rich  no  more- 
So  Shalt  thou  feed  on  Death,  that  feeds  on  men. 
And,  Death  once  dead,  there's  no  more  dying  then." 

Sonnet  146. 

'J^^Tt  T  '""'""f  *""*  "  «^"7where.    As  Shakspeare  is  the 
mirror  of   he  universal  mind  so  he  reflects  the  universal  hope   n  hi! 

hTwilh  -  '"  °""  '""'"^^  '"*  ''  ^^"^'^  -  '"^^  openingTords'oJ 

"/  commend  my  soul  into  the  hands  of  God  mv  creator  hnhU^  — «# 
assuredly  believing,  through  the  only  merits  onesusMtZi^ 
*our,  to  be  made  partaker  of  life  everlasting."  '  ^  ^"^ 


i 


II 


BOOK   FOURTH 


Scripture   Themes  in   Shakspeare 


CONSISTING  OF  NUMEROUS  QUOTATIONS  FROM  SHAK- 
SPEARE  OF  MORAL   AND   RELIGIOUS   TRUTHS.   AR^ 
.    RANGED  UNDER  SEtARATE  HEADINGS 


115 


-■If 

■'?< 


1 


1 

\ 

{ 
\ 

I 

!i 
ii 

i! 
1 

"I 


f 


SCRIP  rURB  THEMES  IN  SHAKSPEARE 

This  part  of  our  work  partakes  of  the  character  of  a  cyclopedia  of 
Biblical  and  moral  texts  found  in  the  dramas  and  poems  of  Shakspeare. 

It  must  not,  however,  be  understood  as  embracing  all  the  moral  say- 
ings of  the  great  author's  works.  Only  those  passages  have  been 
selected  which  are,  in  the  mind  of  the  writer,  directly,  or  indirectly, 
related  in  thought,  spirit,  or  figure  to  the  doctrine  and  morals  of  the 
Bible,  or  to  the  accepted  teachings  of  the  Christian  religion.  A  much 
larger  volume  than  this  would  be  necessary  for  a  classification  of  the 
numerous  wise,  philosophic  and  moral  sayings  of  Shakspeare. 

In  all  such  quotations  there  is  a  danger  of  reading  into  the  author's 
words  and  making  current,  a  meaning  that  is  not  justified  by  the  whole 
text  and  context.  Every  reader  of  the  Bible  is  aware  of  this  danger; 
it  is  therefore,  only  necessary  to  point  it  out  in  order  to  avoid  the  mis- 
take here. 

In  preparing  these  pages  the  writer  has  had  to  face  the  difficult  task 
of  placing  the  quotations,  under  right  headings,  without  frequent  repeti- 
tion. The  genius  of  Shakspeare  presents  truths  so  many-sided  that 
often,  in  a  few  lines,  several  subjects  are  included. 

In  a  few  instances  passages  are  repeated  under  separate  headings. 
Thus,  for  example,  in  II  Hen.  VI.  3:2  we  have  this:  "Thrice  is  he 
arm'd  that  hath  his  quarrel  just,"  which  with  a  slight  addition  is  placed 
under  the  topic  "Conscience"  as  well  as  "Justice,"  and  the  passage 
from  Measure  for  Measure  which  opens:— 

"  He  who  the  sword  of  Heaven  will  bear 
Should  be  as  holy  as  severe," 

seems  to  be  as  appropriate  to  the  subject  of  "Christian  Ministry"  as 
to   Justice  '  and  has  been  placed  under  both  heads. 

On  the  other  hand,  in  some  cases,  two  or  more  topics  have  been 
placed  together  because  it  is  found  that  the  quotations  so  directly  refer 
to  more  than  one  subject  that  they  are  inseparable;  as  for  example 

117 


siS 


SCRIPTURE  THEMES  IN  SHAKSPEARE 


"Life  and  Tin.e,"  "Gratitude  and  Ingratitude,"  "Slander  and  Malice," 
while  in,  at  least,  one  case,  subjects  which  seem  to  be  akin  have  been 
divided  because  of  the  Poet's  special  reference  to  one  or  both  of  them 
respectively.  Thus,— "Grace  before  Meat"  might  have  been  placed 
under  the  general  head  of  "Praise"  but  that  there  are  -everal  special 
references  to  the  first  topic  which  by  themselves  are  of  peculiar  interest. 

The  conversation  between  Lucio  and  two  gentlemen  in  Measure  for 
Measure  i  :2,  illustrates  this :  Lucio  says : — 

"Thou  concludest  like  the  sanctimonious  pirate  that  went  to  sea  with 
t  2  ten  commandments,  but  scraped  one  out  of  the  table. 

2  Gent.    Thou  shalt  not  steal? 

Lucio.    Ay,  that  he  razed. 

1  Gent.  Why,  'twas  a  commandment  to  command  the  captain  and 
all  the  rest  from  their  functions ;  they  put  forth  to  stea! :  There's  not 
a  soldier  of  us  all  that,  in  the  thanksgiving  before  meat,  doth  relish  the 
petition  well  that  prays  for  peace. 

2  Gent.     I  never  heard  any  soldier  dislike  it. 

Lucio.  I  believe  thee,  for  I  think  thou  never  wast  where  grace  was 
said." 


In  this  brief  conversation  we  have  four  subjects  of  int  Test : — 

1.  Hypocrisy  of  the  pirate  "with  the  ten  commandme.its." 

2.  A  recognition  of  the  pious  practice  of  "thanksgiving  before  meat." 

3.  The  prevailing  impiety  of  a  soldier's  life. 

4.  That  a  trained  soldier's  business  and  interests  are  opposed  to  peace. 

The  passages  in  "Scripture  Themes  in  Shakspeare"  "nclude  some  that 
do  not  directly  bear  any  reference  to  a  Scripture  subject,  but  it  will  be 
found  that  such  passages  contain  the  Christian  spirit  and  teaching  in  a 
marked  degree.  This  will  be  specially  observed  in  tl..;  selections  on 
Peace  and  War. 

Some  of  the  passages  are  given  because  a  Bible  name  or  character 
is  quoted,  thus  showing  that  the  author  had  Scripture  thought  and 
figure  in  his  mind  while  writing.  Two  passages  may  be  cited  as  illus- 
trating this  principle  of  selection. 

Under  the  head  of  "Virtue"  a  figure  of  beauty  is  given  from  Sonnet 
93 :  thus — 

"  How  like  Eve's  apple  doth  thy  beauty  grow." 


SCRIPTURE  THEMES  IN  SHAKSPEARE  119 

In  the  passage  from  Measure  for  Measure  2:4,— 

"  Better  it  were  a  brother  died  at  once 
Than  that  a  sister,  by  redeeming  him, 
Should  die  forever," 

there  is  no  Biblical  quotation,  or  direct  Scriptural  reference,  tat  these 
beautiful  hnes  contain  the  doctrine  of  purity  revolting  at  sin;  and  also 
diat  death  and  sm  are  forever  inseparable,  a  teaching  which  is  faith- 
fully mamtemed  throughout  the  entire  works  of  Shakspeare 

These  illustrations  will  be  sufficient  to  explain  the  arrangement  of 
this  part  of  our  work. 


AMBITION 

Ambition,  Thou  scarlet  sin.    Hen.  VIII.  j:  z. 

Virtue  is  chok'd  with  foul  ambition.    //  Hen.  VI.  j:  /. 

Banish  the  canker  of  ambitious  thoughts.    //  ^en.  VI.  1:2. 

The  devil  speed  him !    No  man's  pie  is  free'd 
From  his  ambitious  finger.     Hen.  VIII.  i:  i. 
s 

Love  and  meekness. 
Become  a  churchman  better  tlian  ambition.    Hen.  VIII.  5;  ^. 

Too  much  honor : 
O,  'tis  a  burden,  Cromwell,  'tis  a  burden 
Too  heavy  for  a  man  that  hopes  for  heaven.    Hen.  VIII.  j;  ^. 

Cromv/ell,  I  charge  thee,  fling  away  ambition ; 

By  that  sin  fell  the  angels ;  how  can  man  then, 

The  image  of  his  Maker,  hope  to  win  by  't?    Hen.  VIII.  3:2. 

AmHfio-'c  r'ebt  is  paid  .  .  . 

O  mifrlity  Caesar!  dost  thou  lie  so  low? 

Are  all  thv  connuests,  glories,  triumphs,  spoils, 

Shrunk  to  this  little  Measure?      Jul.  Caesar  3:1. 


! 


'I 


11  ■ 
I 

I 


tao 


SCRIPTURE  THEMES  IN  SHAKSPEARE 


n  Hen.  VI.  z:  J. 


m. 


To  see  how  God  in  all  his  creatures  work 
Yea,  man  and  birds  are  fain  of  climbing  h    .j 

'Tis  a  common  proof 
That  lowliness  is  young  ambition's  ladder, 
Whereto  the  climber-upward  turns  his  face; 
But,  when  he  once  attains  the  upmost  round. 
He  then  unto  the  ladder  turns  his  back. 
Looks  in  the  clouds,  scorning  the  base  degrees 
By  which  he  did  ascend.     Jul.  Caesar  z:  i. 

God's  will !  I  pray  thee,  wish  not  one  man  more. 

By  love,  I  am  not  covetous  for  gold ; 

Nor  care  I  who  feed  upon  my  cost ; 

But  if  it  be  a  sin  to  covet  honor 

I  am  the  most  offending  soul  alive.  .  .  . 

God's  peace !    I  would  not  lose  so  great  an  honor 

For  the  best  hope  I  have.    Hen.  V.  4:  j. 

Ill-weaved  ambition,  how  much  art  thou  shrunk  f 

When  that  this  body  did  contain  a  spirit, 

A  kingdom  for  it  was  too  small  a  bound; 

But  now, — two  paces  of  the  vilest  earth 

Is  room  enough : —  ... 

Adieu,  and  take  thy  praise  with  thee  to  heaven ! 

Thy  ignominy  sleep  with  thee  in  the  grave. 

But  not  remember'd  in  thy  epitaph  I     /  Hen.  IV.  5: 4. 

He  wants  nothing  of  a  god  but  Eternity,  and  a  heaven  to  throne 
.    (See  Heaven.)    Corio.  5: 4. 


O  God!  I  could  be  bound  in  a  nut-shell,  or  count  myself  a  king  of 
mfinite  space;  were  it  not  that  I  have  had  bad  dreams. 

Which  dreams,  indeed,  are  ambition;  for  the  very  substance  of  tte 
ambition  is  merely  the  shadow  of  a  dream.  Ham.  z:  2. 


h 


SCRIPTURE  THEMES  IN  SHAKSPEARE 
CHARITY-GENEROSITY-HOSPITALITY. 

Which  renders  good  for  bad,  blessings  for  cursing 
,( See  Forgiveness.)    Rich.  III.  1:2, 

You  bear  a  gentle  mind,  and  heavenly  blessings 
Follow  such  creatures.      Hen.  VIII.  2:3. 

Bound  by  my  charity,  and  my  bless'd  order, 
I  come  to  visit  the  afflicted  spirits 
Here  in  the  prison:  do  me  the  common  right 
To  let  me  see  them,  and  to  make  me  know 
The  nature  of  their  crimes,  that  I  may  minister 
To  them  accordingly.     Meas.  for  Meas.  2:  j. 

My  master  is  of  churiish  disposition. 
And  little  recks  to  find  the  way  to  heaven 
By  doing  deeds  of  hospitality : 
Besides,  his  cote,  his  flocks,  and  bounds  of  feed. 
Are  now  on  sale,  and  at  our  sheepcote  now. 
By  reason  of  his  absence,  there  is  nothing 
That  you  will  feed  on;  but  what  is.  come  see. 
And  in  my  voice  most  welcome  shall  you  be. 

As  You  Like  It  g: '4. 

That  churchman  bears  a  bounteous  mind  indeed, 
A  hand  as  fruitful  as  the  land  that  feeds  us ; 
His  dews  are  everywhere.  .  .  . 

„  .    .    ^  •  •  •  No  doubt  he's  noble- 

He  had  a  black  mouth  that  said  other  of  him.  .  . 
Hemay?  .   .   .  he  has  wherewithal ;  in  him. 
Sparing  would  show  a  worse  sin  than  ill  doctrine: 
Men  of  his  way  should  be  most  liberal, 
They  are  set  here  for  examples.       Hen.  VIII.  13 


rat 


133 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


viii 


CHRISTIAN  MINISTRY— CLERGYMEN 

You  holy  clergymen.    Rich.  II.  4:  i. 

More  needs  she  the  divine  than  the  physician.    Macb.  5;  /. 

Sermons  in  stones,  and  good  in  everything.      As  You  Like  It  2:  i. 

Meditating  with  two  divines ; 

See  where  hi.*  grace  stands  'tween  two  clergymen !    Rich.  III.  3:  J. 

Do  not  as  some  ungracious  pastors  do, 

Show  me  the  steep  and  thorny  way  to  Heaven, 

Whilst,  like  a  puff'd  and  reckless  libertine, 

Himself  the  primrose  path  of  dalliance  tread, 

And  recks  not  his  own  read.*     (See  Hypocrisy.)      Ham.  1:3. 

God  forbid — 

That  you  should  fashion,  wrest,  or  bow  your  reading, 

Or  nicely  charge  your  understandi"g 

With  open  titles  miscreate'  whose  right 

Suits  not  in  native  colors  with  the  truth ;  .  .  . 

We  charge  you  in  the  name  of  God,  take  heed.    Hen.  V.  i:  2. 

He  who  the  sword  of  Heaven  will  bear 
Should  he  as  holy  as  severe ; 
Pattern  in  himself  to  know, 
Grace  to  stand,  and  virtue  go. 

(See  Justice.)      Meas.  for  Meas.  3: 2. 

Thou  art  reverent 
Touching  thy  spiritual  function,  not  thy  life.  ... 
Who  should  be  pitiful,  if  you  be  not  ? 
Or  who  should  study  to  prefer  a  peace, 
If  holy  churchmen  take  delight  in  broils? 
...  I  have  heard  you  preach  • 
That  malice  was  a  great  and  grievous  sin : 
And  will  you  not  n  intain  the  thing  you  teach. 
But  prove  a  chief  oftender  in  the  same  ?     /  Hen.  VI,  3:  *; 


'doctrine. 


'spurious. 


ii 


SCRIPTURE  THEMES  IN  SHAKSPEARB 

How  I  have  sped  among  the  clergymen, 
-  The  sums  '  have  collected  shall  express. 
But,  as  I  travell'd  hither  through  the  land, 
I  find  the  people  strangely  fantasied ; 
Possess'd  with  rumors,  full  of  idle  dreams ; 
Not  knowing  what  they  fear,  but  full  of  fear : 
And  here's  a  prophet,  that  I  brought  with  me 
From  forth  the  streets  of  Pomfret,  whom  I  found 
With  many  hundred  treading  on  his  heels : 
To  whom  he  sung,  in  rude  harsh-sounding  rhymes, 
That,  ere  the  next  Ascension  day  at  noon. 
Your  highness  should  deliver  up  your  crown. 

Is  this  Ascension-day?    Did  not  the  prophet 
Say  that  before  Ascension-day  at  noon. 
My  crown  I  should  give  off  ?    Even  so  I  have : 
I  did  suppose  it  should  be  on  constraint ; 
But,  heaven  be  thank'd  it  is  but  voluntary. 

King  John  4:  z  and  5;  /. 

It  better  show'd  with  you. 
When  that  your  flock,  assembled  by  the  bell, 
Encircled  you  to  hear  with  reverence 
Your  exposition  on  the  holy  text, 
Than  now  to  see  you  here  an  iron  man. 
Cheering  a  rout  of  rebels  with  your  drum, 
Turning  the  word  to  sword,  and  life  to  death. 

Whn  hath  not  heard  it  spoken, 

How  deep  you  w:.ie  within  the  books  of  Heaven? 

To  us,  the  speaker  in  his  parliament ; 

To  us  the  imagin'd  voice  of  Heaven,  itself ; 

The  very  opener  and  intelligencer, 

Between  the  grace,  the  sanctities  of  Heaven, 

And  our  dull  workings :    O,  who  shall  believe. 

But  you  misuse  the  reverence  of  your  place; 

Employ  the  countenance  and  rrnce  of  Heaven 

As  a  false  favorite  doth  his  o'"i"ce's  name. 

In  deeds  dishonorable?    "^Wi  ^^v»  taken  up. 

Under  the  counterfeited  zf'^l  of  Hpaven, 

The  subjects  ot  Heaven's  substitute,  my  father; 

And,  both  against  the  peace  of  Heaven  and  him.    //  Hen.  IV.  4: 


U3 


iii 


124 


SCRIPTURE  THEMES  IN  SHAKSPEARS 


It  is  a  good  divine  that  follows  his  own  instructions;  I  can  easier 
teach  twenty  what  were  good  to  be  done,  than  be  one  of  the  twenty  to 
follow  mine  own  teaching.  Mer.  of  Vtn.  i:  z. 


Sm 

n 


Vi 


I 


l-i 


COMFORT 

God  comfort  him  in  this  necessity.    /  Htn.  VI.  4: 3. 

I  am  come  to  advise  with  you,  and  comfort  you  and  pray  with  you. 

Meas.  for  Meas,  4: 3. 

That  comfort  comes  too  late 
'Tis  like  pardon  after  execution.     Hen.  VIII.  4:  A 

I  conjure  thee,  as  thou  believ'st 
There  is  another  comfort  than  this  world.    Meas.  for  Meas.  'y.l. 

Comfort's  in  heaven :  and  we  are  on  earth. 

Where  nothing  lives,  but  crosses,  care  and  grief.    Rich.  II.  2:  i. 

Now  God  be  praised !  that  to  believing  souls 

Gives  light  in  darkness,  comfort  in  despair.    //  Hen.  VI.  2: 1. 

How  mightily,  sometimes,  we  make  us  comforts  of  our  losses.  .  .  . 
The  web  of  our  life  is  of  mingled  yam,  good  and  ill  together ;  our  vir- 
tues would  be  proud  if  our  faults  whipped  thei  \  not ;  and  our  crimes 
would  despair  if  they  were  not  cherished  by  our  virtues. 

All's  Well  4:3. 


i  1*= 

II  i 


SCRIPTURE  THEMES  m  SHAKSPEARE 


CONSCIENCE 
Conscience  does  make  cowards  of  us  all.    Ham.  3:  i. 
How  is't  with  me  when  every  noise  appals  me  ?   Macb.  2: 2. 
.  .  .  Wash  every  mote  out  of  his  conscience.   Hen.  V.  4:  /. 

There's  something  in  me  that  reproves  my  fault. 

Twelfth  Night  3: 4. 
Hence  both  are  gone  with  conscience  and  remorse.   Rich.  HI.  4: 3. 

I'll  teach  you  how  you  shall  arraign  your  conscience. 

Meas.  for  Meas.  2: 3. 
Having  God,  her  conscience  and  these  bars  against  me. 

Rich.  HI.  1.2. 
A  good  conscience  will  make  any  possible  satisfaction. 

//  Hen.  IV.  Epil. 

The  clogging  burthen  of  a  guilty  soul.    ^V/J*//* /  "| 

The  heaviness  and  guilt  within  my  bosom 
Takes  off  my  manhood,      Cymb.  5:  s. 

The  color  of  the  king  doth  come  and  go 

Between  his  purpose  and  his  conscience.    King  John  4:3. 

Suspicion  always  haunts  the  guilty  mind 

The  thief  doth  fear  each  bush  an  officer.    ///  Hen.  VI.  5;  6. 

Love  is  too  young  to  know  what  conscience  is 

Vet  who  knows  not,  conscience  is  bom  of  love.      Sonnet  151. 

So  much  my  conscience  whispers  in  your  ear 
Which  none  but  Heaven,  and  you,  and  I  shall  hear. 

'  King  John  z:  i. 


SCRIPTURE  THBMBS  IN  SHAKSPBARS 


II 


'M 


1 


iai'iatat.it 


I  know  that  thou  art  religious, 
And  hast  a  thing  within  thee  called  conscience ; 
Therefore,  I  urge  thy  oath.     (  See  Religious  Vows. ) 

Titus  And.  $:  t. 

Go  to  your  bosom, 
Knock  there ;  and  hsk  your  heart  what  it  doth  know 
That's  like  my  brother  s  fault.      Meas.  for  Meas.  i:  z. 

Art  thou  anything? 
Art  thou  some  god,  some  angel,  or  some  devil. 
That  makest  my  blood  cold,  and  my  hair  to  sUre  ?    /«/.  Catsair  4: 3. 

I  feel  within  me 
A  peace  above  all  earthly  dignities 
A  still  and  quiet  conscience.     Hen.  VIII.  3: 2. 

The  worm  of  conscience  still  be-gnaw  thy  soul  I 

Thy  friends  suspect  for  traitors  whil'st  thou  liv'st. 

And  take  deep  traitors  for  thy  dearest  friends !    Rich.  III.  i:  3. 

My  conscience !  thou  art  fetter'd 
More  than  my  shanks  and  wrists :  You  good  gods  give  me 
The  penitent  instrument,  to  pick  that  bolt 
Then,  free  for  ever  J    Cymb.  5;  4. 

What  stronger  breast-plate  than  a  heart  untainted  I 

Thrice  is  he  arm'd  that  hath  his  quarrel  just ; 

And  he  but  naked,  though  lock'd  up  in  steel, 

Whose  conscience  with  injustice  is  corrupted.    (See  Justice.) 

II  Hen.  VI.  3:  g. 

O  coward  conscience  how  dost  thou  afflict  me ! 

My  conscience  hath  a  thousand  several  tongues. 

And  every  tongue  brings  in  a  several  tale. 

And  every  tale  condemns  me  for  a  villain,     (See  Remorse.) 

Rich.  III.  5:  J. 

For  murther,  though  it  have  no  tongue,  will  speak 
With  some  miraculous  organ.  .  .  . 

The  play's  the  thing 
Wherein  I'll  catch  the  conscience  of  the  king.    Ham.  2: 2. 


SCRIPTVRS  THBMBS  IN  5HAKSPEARB 

ni  haunt  thee  like  «  wicked  coiiKience 
Th»t  maketh  gobUtu  swift  m  freiuy  thought. 

Troi.  and  Crtss.  5;  //. 

•  •  •  graceteM,  holds  he  disputatum 

Tween  froien  conscience  and  hot-burning  wiU. 

And  with  good  thought,  make.  di.pen«tion. 

Urging  the  wor.er  sense  for  vanuge  still.    Uctm.  St.  36. 

Taint  not  thy  n-.ind.  nor  let  thy  soul  contrive 
Aj^inst  thy  mother  aught;  leave  her  to  heaven. 
And  to  those  thorns  that  in  her  bosom  todge, 
To  prick  and  sting  her.    Ham.  i:  5. 

ConKience  i.  a  word  that  cowards  use, 

Devis'd  at  first  to  keep  the  strong  in  awe- 

Our  strong  arms  be  our  conscience,  swords  our  law 

March  on,  jom  bravely,  let  us  to't  pell-mell  • 

If  not  to  Heaven,  then  hand  in  hand  to  Hell.    Rich.  III.  5;  j. 

O, 'tis  too  true  I 

The  harlots  cheek,  beautied  with  plasfring  art 
I.  not  more  ugly  to  the  thing  that  helps  it. 
Ttan  IS  my  deed  to  my  most  painted  word: 
O  heavy  burden  1    Ham.  j:  j. 

Canst  thou  minister  to  a  mind  diseas'd : 
Pluck  from  the  memory  a  rooted  sorrow 
Ra^e  out  the  written  troubles  of  the  brain; 
And,  with  some  sweet  oblivious  antidote 
a^nse  the  stufT'd  bosom  of  that  perilous'stuff. 
Which  weighs  upon  her  heart?    Macb.  5:3. 

Come,  come,  and  sit  you  down :  you  shall  not  budee  • 
You  go  not,  till  I  set  you  up  a  glass, 
Where  you  may  see  the  inmost  part  of  you. 

•  .  .  O  Hamlet,  speak  no  more; 

Thou  tum'st  mine  eyes  into  my  very  soul ; 
And  there  I  see  such  black  and  grained  spots 
As  will  not  leave  their  tinct    Ham.  3-4. 


*V 


f 
*^9 


Ml  SCRIPTURE  THEMES  IN  SHAKSPBARS 

Between  the  acting  of  a  dreadful  thing 
And  the  first  motion,  all  the  interim  ia 
Like  a  phantatma,  or  a  hideous  dream: 
The  genius  and  the  mortal  instruments 
Are  then  in  council :  and  the  state  of  man 
Like  to  a  little  kingdom,  suffers  then 
The  nature  of  an  insurrection.    /«/.  Caetor  »:  t. 

O,  this  life 
Is  nobler  than  attending  for  a  check ; 
Richer  thai,  doing  nothing  for  a  bribe 
Prouder,  than  rustling  iti  unpaid-for  silk ; 
...  I  have  lived  at  honcit  freedom ;  paid 
More  pious  debts  to  heaven,  than  in  all 

The  fore-end  of  my  time 

.  .  .  heaven  and  my  conscience  knows 
Thou  didst  unjustly  banish  me.    Cymb.  $:  3. 

God  Almighty  I 
There  is  some  soul  of  goodness  in  things  evil. 
Would  men  observingly  distil  it  out ; 
For  our  bad  neighbor  makes  us  early  stirrers, 
Which  is  both  healthful  and  good  husbandry: 
Besides  they  are  our  outward  consciences, 
And  preachers  to  us  all ;  admonishing 
That  we  should  dress  us  fairly  for  our  end. 
Thus  may  we  gather  honey  from  the  weed, 
And  make  a  moral  of  the  devil  himself.    Hen.  V.  4:  t. 

My  conscience  first  receiv'd  a  tenderness 

Scruple  and  prick,  on  certain  speeches  utter'd 

This  respite  shook 
The  bosom  of  my  conscience,  enter'd  me. 
Yea,  with  a  splitting  power,  and  made  to  tremble 

The  region  of  my  breast: Thus  hulling  in 

The  wild  sea  of  my  conscience,  I  did  steer 
Toward  this  remedy,  whereupon  we  are 
Now  present  here  together ;  that  is  to  say, 
I  meant  to  rectify  my  conscience, —  which 
I  then  did  feel  sick,  and  yet  not  well. — 
By  all  the  reverend  fathers  of  the  land 
And  doctors  leam'd.    Hen.  VUI.  z:  4. 


SCRIPTVKd  THBMBS  IN  SHAKSPBARB  ij, 

Th*  flay  of  Macbeth  should  be  read  at  a  whole  for  a  study  on  Con- 
ictenee.  The  sense  of  guilt  and  of  a  sin-stricken  heart  is  strikingft 
portrayed  tn  the  following  passages  from  that  play:  — 

Maeb.  There's  one  did  laugh  in  hit  ileep, 
And  one  cried  "  murder  I  "  that  they  did  wake  each  other; 
I  itood  and  heard  them:  but  they  did  lay  their  prayert.  ' 
And  addreu'd  them  again  to  sleep. 
Lady.  M.  There  are  two  lodg'd  together. 
Maeh.  One  cried  "God  bless  us !"  and  "Amen."  the  other; 
As  they  had  seen  me,  with  these  hangman's  hands » 
Listening  their  fear,  I  could  not  say,  amen, 
When  tliey  did  say,  God  bless  us. 
Lady  M.  Consider  it  not  so  deeply. 
Macb.  But  wherefore  could  not  I  pronounce,  amen? 
I  had  most  need  of  blessing,  and  amen 

Stuck  in  my  throat 

Whence  is  that  knocking? 
How  is't  with  me,  when  every  noise  appals  me? 
What  hands  are  here  ?  •    Ha  I  they  pluck  out  mine  eyes ! 
Will  all  great  Neptune's  ocean  wash  this  blood 
Clean  from  my  hand  ?    No ;  this  my  hand  will  rather 
The  multitudinous  seas  incarnadine. 
Making  the  green— one  red.     Macb.  2:  a. 

In  the  Night-watch  when  the  Doctor  comes  to  view  the  troubled  Lady 
Macbeth  in  her  deep-walkings  we  have  the  following  — 

Lady  M.  Yet  here's  the  spot. 

Doct.  Haric,  she  speaks;  I  will  set  down  what  comes  from  her,  to 
satisfy  my  remembrance  the  more  strongly. 

Lady  M.  Out,  damned  spot!  out  I  say!  One;  Two:  Why  then  'tia 
tune  to  do't :  —  Hell  is  murky :  Fie.  .^y  lord  fie  I  a  soldier,  and  afeard? 
What  need  we  fear  who  knows  it  when  none  can  call  our  oower  to 
account? *^ 

Doct.  Do  you  mark  that? 

Lady  M What,  will  these  hands  ne'er  be  clean?  Here's  the 

smell  of  the  blood  still:  all  the  perfumes  of  Arabia  will  not  sweeten  this 
little  hand.    Oh  I  oh!  oh!  «^  uh» 

Doct.  What  a  sigh  is  there  1    The  heart  is  sorely  charged. 

*>ltd>eth  Iook$  upon  his  hands  stained  with  blood. 
9 


130 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


1   ; 


Gent.  I  would  not  have  such  a  heart  in  my  bosom,  for  the  dignity  of 
tbe  whole  body. 
Doct.  WeU,  well,  well,— 
Gent.  Pray  God,  it  be  sir. 

Doct.  This  disease  is  beyond  my  practice :  Yet  I  have  known  those 
who  have  walked  in  their  sleep  who  have  died  holily  in  their  beds. 

Lady  M.  Wash  your  hands,  put  on  your  night-gown;  look  not  so 
pale : — I  tell  you  yet  again,  Banquo's  buried ;  he  cannot  come  out  en's 
p^ve.  .  .  . 
Doct.  .  .  .  Infected  minds 

To  their  deaf  pillows  will  discharge  their  secrets. 
More  needs  she  the  divine  than  the  physician. — 
God,  God,  forgive  us  all !    Macb.  5:  /. 


Second  Mur.  Some  certain  dregs  of  conscience  are  yet  within  me. 
,     First  Mur.  Remember  our  reward,  when  the  deed's  done. 

Sec.  Mur.  Come  he  dies !    I  had  forgot  the  reward. 

First  Mur.  Where's  thy  conscience  now  ? 

Sec.  Mur.  Oh,  in  the  duke  of  Gloster's  purse. 

First  Mur.  When  he  opens  his  purse  to  give  us  our  reward,  thy 
conscience  flies  out. 

Sec.  Mur.  'Tis  no  matter ;  let  it  go ;  there's  few,  or  none  will  enter- 
tain it. 

First  Mur.  What  if  it  come  to  thee  again  ? 

Sec.  Mur.  I'll  not  meddle  with  it,  it  is  a  dangerous  thing,  it  makes  a 
man  a  coward ;  a  man  cannot  steal  but  it  accuseth  him ;  a  man  cannot 
swear  but  it  checks  him ;  a  man  cannot  lie  with  his  neighbor's  wife  but 
it  detects  him:  'Tis  a  blushing,  shame-faced  spirit  that  mutinies  in  a 
man's  bosom :  it  fills  one  full  of  obstacles :  it  made  me  once  restore  a 
purse  of  gold  that  by  chance  I  found ;  it  beggars  any  man  that  keeps  it : 
it  is  turned  out  of  towns  and  cities  for  a  dangerous  thing;  and  every 
man  that  means  to  live  well  endeavors  to  trust  to  himself,  and  live 
without  it.    Rich.  III.  i:  4. 


i:: 


Conscience,  say  I,  you  counsel  well ;  fiend,  say  I,  you  counsel  well : 
to  be  ruled  by  my  conscience  I  should  stay  with  the  Jew  my  master, 
.  .  .  and  to  run  away  from  the  Jew  I  should  be  ruled  by  the  fiend,  who, 
is  the  devil  himself:  Certainly,  the  Jew  is  the  very  devil  incarnation: 
and,  in  my  conscience,  my  conscience  is  a  kind  of  hard  conscience,  to 
offer  to  counsel  me  to  stay  with  the  Jew.    Mer.  of  Ven.  z:  z. 


it 


SCRIPTURE  THEMES  IK  SHAKSPEARE 

» 

DEATH  AND  THE  FUTURE-ETERNITY 
A  royal  fellowship  of  death  1    Hen.  V.  4: 8. 
He  that  dies,  pays  all  debts.    Tempest  3: 2. 
Death,  death,  O,  amiable,  lovely  death !    King  John  3: 4. 

O  death,  made  proud  with  pure  and  princely  beauty. 

King  John  4: 3. 

A  man  can  die  but  once  —  we  owe  a  death.*    //  Hen.  IV.  3: 2. 

Where  art  thou  death?  ...  This  mortal  house  I'll  ruin. 

Ant.  and  Cleo.  5;  <?. 

Death,  as  the  Psahnist  saith,  is  certain  to  all;  all  shall  die. 

II  Hen.  IV.  3:2. 

The  wills  above  be  done!  but  I  would  fain  die  a  dry  death. 

Tempest  i:  i. 

......  Seeing  that  death,  a  necessary  end, 

Will  come  when  it  will  come.    Jul.  Caesar  i:  2. 

It  is  a  knell 
That  summons  thee  to  heaven,  or  to  hell.    Mach.  z:  i. 

Immortality  attends  the  former. 
Making  a  man  a  god.    Pericles  3: 2. 

Thou  know'st  'tis  common!  all  that  lives  must  die 
Passmg  through  nature  to  eternity.    Ham.  i:  2. 

O  heavens!  is't  possible,  a  young  maid's  wits 

Should  be  as  mortal  as  an  old  man's  life?    Ham.  4:5.  ' 

Kings  and  mightiest  potentates  must  die : 

For  that's  the  end  of  human  misery.    /.  Hen.  VI.  3: 2. 

•Some  versions  read,  "  We  owe  God  a  death." 


I3X 


M 


t»  SCRIPTURE  THEMES  IN  SHAKSPEARE 

Mount,  mount,  my  soul!  thy  seat  is  up  on  high 
Whilst  thy  gross  flesh  sinks  downward,  here  to  die. 

Rich.  II.  $:$. 

Come,  side  by  side  together  live  and  die 

And  soul  with  soul  from  France  to  heaven  fly,    /  Hen.  VI.  4: 5. 


—  Men  must  endure 
Their  going  hence,  even  as  their  omiing  hither 
Ripeness  is  all.    King  Lear  5:  ^. 

My  joy  is  death : 
Death  at  whose  name  I  oft  have  been  afeared 
Because  I  wish'd  this  world's  eternity.    //  Hen.  VI. 


2:4. 


'if 


-h  -i* 


But  now,  the  arbitrator  of  despairs, 

Just  death,  kind  umpire  of  men's  miseries, 

With  sweet  enlargement  doth  dismiss  me  hence. 

/  Hen.  VI.  2:5. 

Look,  who  comes  here  I  a  grave  unto  a  soul; 
Holding  the  eternal  spirit,  against  her  will. 
In  the  vile  prison  of  aflUcted  breath..  .King  John  3:4. 

Then  God  forgave  the  sin  of  all  those  souls 

That  to  their  everlasting  residence 

Before  the  dew  of  evening  fall,  shall  fleet    King  John '»:  X. 

Thy  gift,  thy  tables,  are  within  my  brain 
Full  character'd  with  lasting  memory, 
Which  shall  above  that  idle  rank  remain, 
Beyond  all  date,  even  to  eternity.    Sonnet  ti». 

If  you  will  live  lament,  if  die,  be  brief; 

That  our  swift-winged  souls  may  catch  the  king's ; 

Or,  like  obedient  subjects,  follow  him 

To  his  new  kingdom  of  ne'er  changing  right    Rich.  III.  »:i. 

Laud  be  to  Heaven!  —  even  there  my  life  must  end. 

It  hath  been  prophesied  to  me  many  years, 

I  should  not  die  but  in  Jerusalem ; 

Which  vainly  I  suppos'd  the  Holy  Land.    //  Hen.  IV.  4: 4. 


SCRIPTURE  THEMES  !N  SHAKSPEARB  133 

When  wilt  — begin  to  patch  up  thine  old  body  for  heaven' 
Do  not  speak  like  a  death's  head:  do  not  bid  me  remember  mine 
end.    II  Hen.  IV.  2: 4. 

O,  I  could  prophesy, 
But  that  the  earthy  and  cold  hand  of  death 
Lies  on  my  tongue:  No,  Percy,  thou  are  dust. 
And  food  for  —  worms.    /  Hen.  IV.  5;  4. 

.  —  full  of  repentance. 

Continual  meditations,  tears,  and  sorrows. 
He  gave  his  honors  to  the  world  again : 
His  blessed  part  to  heaven,  and  slept  in  peace. 
And,  to  add  greater  honors  to  his  age 
Than  man  could  give  him,  he  died  fearing  God. 

Hen.  VIII.  4: 2. 

God  knc    s  what  hath  bechanced  them : 
But  this  I  know,— that  they  have  demean'd  themselves 
Like  men  bom  to  renown,  by  life,  or  death. 
The  sands  are  number'd  that  make  up  my  life ; 
Here  must  I  stay,  and  here  my  life  must  end.    //;  Hen.  VI.  i:  4. 

Yet  in  this  life 
Lie  hid  more  thousand  deaths:  yet  death  we  fear, 
That  makes  these  odds  all  even.  ... 
To  sue  to  live,  I  find  I  seek  to  die 

And  seeking  death  find  life:    Let  it  come  on 

■  •  •  Darest  thou  die ! 
The  sense  of  death  is  most  in  apprehension.    (See  Life.) 

Meas.  for  Meas.  3:  i. 

Have  I  not  hideous  death  within  my  view. 
Retaining  but  a  quantity  of  life, 
Which  bleeds  away,  even  as  a  form  of  wax 
Resolveth  from  his  figure  'gainst  the  fire? 
What  in  the  world  should  make  me  now  deceive. 
Since  I  must  lose  the  use  of  all  deceit  ^ 
Why  should  I  then  be  false,  since  it  is  true 
That  I  must  die  here,  and  live  hence  by  truth? 

King  John  5: 4, 


194  SCRIPWRS  THBMBS  IN  SHAKSPBARS 

Lo,  now  my  gfloiy  smear'd  in  dust  and  blood  I 

My  parks,  my  walks,  my  manors  that  I  had. 

Even  now  forsake  me ;  and  of  all  my  lands 

Is  nothing  left  me  but  my  body's  length! 

Why,  what  is  pomp,  rule,  reign,  but  earth  and  dust? 

And,  live  we  how  we  can,  yet  die  we  must    ///  Hen.  VI.  '$:  g. 

The  cloud-capp'd  towers,  the  gorgeous  palaces 
The  solemn  temples,  the  great  globe  itself. 
Yea,  all  which  it  inherit,  shall  dissolve, 
And,  like  this  insubstantial  pageant  faded. 
Leave  not  a  rack  behind.    We  are  such  stuflF 
As  dreams  are  made  on,  and  our  Uule  life 
Is  rounded  with  a  sleep.    Tempest  4:  i. 

That  we  should  die  we  know ;  'tis  but  the  time, 
And  drawing  days  out,  that  men  stand  upon. 

—  Why  he  that  cuts  off  twenty  years  of  life 
Cuts  off  so  many  years  of  fearing  death. 

—  Grant  that,  and  then  is  death  a  benefit 

So  we  are  Caesar's  friends,  that  have  abridg'd 
His  time  of  fearing  death.    Jul.  Caesar  j:  /. 

Heaven  and  yourself 
Had  part  in  this  fair  maid !  now  heaven  hath  all. 
And  all  the  better  it  is  for  the  maid : 
Your  part  in  her  you  could  not  keep  from  death; 
But  heaven  keeps  his  part  in  eternal  life 


Hit 


Her  body  sleeps  in  Capel's  monument, 
And  her  immortal  part  with  angels  lives. 

Rom.  and  Jul.  4: 5  and  5;  x. 

Fear  no  more  the  heat  o'  the  sun. 

Nor  the  furious  winter's  rages ; 
Thou  thy  worldly  task  hast  done. 

Home  are  gone,  and  ta'en  thy  wages: 
Golden  lads  and  lasses  must, 

As  chimney-sweepers,  come  to  dust. 

Fear  no  more  the  frown  o'  the  great 
Thou  are  past  the  tyrant's  stroke ; 


i 


SCRIPTURE  THEUBS  IN  SHAKSPBARB 


i» 


Care  no  more  to  clothe,  and  eat; 
To  thee  the  reed  is  as  the  oak: 
The  sceptre,  learning,  physic,  must 
All  follow  this,  and  cone  to  dust 


Song  in  Cymb.  4:  i. 


To  be,  or  not  to  be;  that  is  the  question:  — 
Whether  't  is  nobler  in  the  mind,  to  suffer 
The  slings  and  arrows  of  outrageous  fortune; 
Or  to  take  arms  against  a  sea  of  troubles. 
And  by  opposing  end  them?  — To  die,— to  sleep,— 
No  more ;  —  and,  by  a  sleep,  to  say  we  end 
The  heart-ache,  and  the  thousand  natural  shocks 
That  flesh  is  heir  to,— 'tis  a  consummation 
DevouUy  to  be  wish'd.    To  die ;  -  to  sleep :  — 
To  sleep  I  perchance  to  dream :—  ay,  there's  the  rub; 
For  m  that  sleep  of  death  what  dreams  may  come. 
When  we  have  shuffled  off  this  mortal  coil. 
Must  give  us  pause.    There's  the  respect ' 
That  makes  calamity  of  so  long  life : 
For  who  would  bear  the  whips  and  scorns  of  time 
The  oppressor's  wrong,  the  proud  man's  contumely,' 
The  pangs  of  despis'd  love,  the  law's  delay. 
The  insolence  of  office,  and  the  spurns 
That  patient  merit  of  the  unworthy  takes. 
When  he  himself  might  his  quietus  make 
With  a  bare  bodkin  ?  who  would  these  fardels  bear. 
To  grunt  and  sweat  under  a  weary  life. 
But  that  the  dread  of  s       thing  after  death,— 
The  undiscover'd  country   .rom  whose  bourn 
No  traveler  returns.    Ham.  3:  x. 

f"!^'*    .    .  Death  is  a  fearful  thing. 

isab.  And  shamed  life  a  hateful. 

Claud.  Ay,  but  to  die,  and  go  we  know  not  where ; 

To  lie  in  cold  obstruction,  and  to  rot ; 

This  sensible  warm  motion  to  become 

A  kneaded  clod;  and  the  delighted  spirit 

To  bathe  in  fiery  floods,  or  to  reside 

In  thrilling  regions  of  thick-ribbed  ice: 

To  be  imprison'd  in  the  viewless  winds. 

And  blown  with  restless  violence  round  about 


I/" 


« 


Vfi  SCRIPTURE  THEMES  IN  SHAKSPEARS 

The  pendent  world;  or  to  be  worse  than  worst 

Of  those  that  lawless  and  uncertain  thoughts 

Imagine  howling  J— 't  is  too  horrible. 

The  weariest  and  most  loathed  worldly  life, 

That  age,  ache,  penury,  and  imprisonment 

Can  lay  on  riature,  is  a  paradise 

To  what  we  fear  of  death.     Meas.  for  Meas.  3:  i. 

Let's  talk  of  graves,  of  worms,  and  epitaphs; 
Make  dust  our  paper,  and  with  rainy  eyes 
Write  sorrow  on  the  bosom  of  the  earth. 
Let's  choose  executors,  and  talk  of  wills: 
And  yet  not  so,  for  what  can  we  bequeath. 
Save  our  deposed  bodies  to  the  ground? 
Our  lands,  our  lives,  and  all  are  Bolingbroke's, 
And  nothing  can  we  call  our  own  but  death, 
And  that  small  model  of  the  barren  earth. 
Which  serves  as  paste  and  cover  to  our  bones. 
For  God's  sake,  let  us  sit  upon  the  ground. 
And  tell  sad  stories  of  the  death  of  kings : 
How  some  have  been  depos'd,  some'^lain  in  war. 
Some  haunted  by  the  ghosts  they  have  depos'd. 
Some  poison'd  by  their  wives,  some  sleeping  kill'd. 
All  murder'd ;— for  within  the  hollow  crown. 
That  rounds  the  mortal  temples  of  a  king, 
Keeps  death  his  court,  and  there  the  antic  sits, 
Scoffing  his  state,  and  grinning  at  his  pomp; 
Allowing  him  a  breath,  a  little  scene, 
To  monarchize,  be  fear'd,  and  kill  with  looks. 
Infusing  him  with  self  and  vain  conceit. 
As  if  this  flesh,  which  walls  about  our  life. 
Were  brass  impregnable;  and,  humor'd  thus. 
Comes  at  the  last,  and  with  a  little  pin 
Bores  through  his  castle  wall,  and— farewell  king! 
Cover  your  heads,  and  mock  not  flesh  and  blood 
With  solemn  reverence :  throw  away  respect, 

.  Tradition,  form,  and  ceremonious  duty. 
For  you  have  but  mistook  me  all  this  while: 
I  live  with  bread  like  you,  feel  want. 
Taste  ^ef,  need  friends:  subjected  thus. 

How  can  you  say  to  me— I  am  a  king?      Rich.  II.  3:  z. 


SCRIPTURE  THEMES  IN  SHAKSPEARE  xyf 

Th*  death  scene  of  Cardinal  Beaufort  as  presented  in  II  Hen.  VI., 
•powerfully  describes  the  end  of  an  ambitious  man.  whose  life  wm 
^roHgely  inconsistent  with  his  high  office  in  the  church. 

Beau.  If  thou  be'st  death,  I'll  give  thee  England's  treasure. 
Enough  to  purchase  such  another  island. 
So  thou  wilt  let  me  live,  and  feel  no  pain. 

K.  Hen.  Ah,  what  a  sign  it  is  of  evil  life. 
Where  death's  approach  is  seen  so  terrible ! 
War.  Beaufort,  it  is  thy  sovereign  speaks  to  thee. 
Beau.  Bring  me  unto  my  trial  when  you  will. 
Died  he  not  in  his  bed?  where  should  he  die? 
Can  I  make  men  live,  whe'r  they  will  or  no?— 
0 1  torture  me  no  more,  I  will  confess. — 
Alive  again?  then  show  me  where  he  is: 
I'll  give  a  thousand  pound  to  look  upon  him.— 
He  hath  no  eyes,  the  dust  hath  blinded  them.— 
Comb  down  his  hair:  look!  look!  it  stands  upright. 
Like  lime-twigs  set  to  catch  my  winged  soul.— 
Give  me  some  drink ;  and  bid  the  apothecary 
Bring  the  strong  poison  that  I  bought  of  him. 

K.  Hen.  O,  thou  eternal  mover  of  the  heavens. 
Look  with  a  gentle  eye  upon  this  wretch ! 
O!  beat  away  the  busy  meddling  fiend. 
That  lays  strong  siege  unto  this  wretch's  soul. 
And  from  his  bosom  purge  this  black  despair. 

War.  S-'e,  how  the  pangs  of  death  do  make  him  grin. 
Sal.  Disturb  him  not;  let  him  pass  peaceably. 
K.  Hen.  Peace  to  his  soul,  if  God's  good  pleasure  be! 
Lord  cardinal,  if  thou  think'st  on  heaven's  bliss, 
Hold  up  thy  hand,  make  signal  of  thy  hope.     {Beau,  dies) 
He  dies,  and  makes  no  sign.— O  God,  forgive  him ! 
War.  So  bad  a  death  argues  a  monstrous  life. 
K.  Hen.  Forbear  to  judge,  for  we  are  sinners  all. — 
Close  up  his  eyes,  and  draw  the  curtain  close, 
And  let  us  all  to  meditation.      //.  Hen.  VI.  j;  j. 

"  So  'a  cried  out  — God,  God,  God!  three  or  four  times;  now  I  to 
comfort  him,  bid  him  'a  should  not  think  of  God.  I  hoped  there  was 
no  need  to  trouble  himself  with  such  thoughts  yet.  Mrs.  Quickly's 
account  of  the  death  of  Fallstaff.     Hen.  V.  2:3. 


ifi  SCRIPTURB  THBMBS  IS  SHAKSPSARS 

DEATH,  PREPARATION  FOR 

Make  peace  with  God,  for  you  muit  die.    Rich.  III.  /.-  4. 

They  have  said  their  prayers,  and  they  sUy  for  death. 

Hen.  V.  4:2. 

>l   If  it  (death)  be  not  now,  yet  it  will  come:  the  readiness  is  all. 

Ham.  y.2. 

'Tis  a  vile  thing  to  die  .  .  . 
When  men  are  unprepared,  and  look  not  for  it.    Rich.  HI.  j:  2. 

,_    .  Men  must  endure 

Their  going  hence,  even  as  their  coming  hither: 
Ripeness  (readiness)  is  all.     King  hear  5;  2. 

He's  not  prepared  for  death  f  .  .  . 

.  .  .  Shall  we  serve  Heaven 
With  less  respect  than  we  do  minister 
To  our  gross  selves?     Meas.  for  Meas.  2:2. 

V  Cut  off  even  in  the  blossoms  of  my  sin, 
Unhousel'd,  disappointed,  unaneled : 
No  reckoning  made,  but  sent  to  my  account 
With  all  my  imperfections  on  my  head.      Ham.  1:5. 

If  you  bethink  yourself  of  any  crime, 

Unreconcil'd  as  yet  to  heaven  and  grace. 

Solicit  for  it  straight. 

I  would  not  kill  thy  unprepared  spirit ; 

No,  heaven  forfend,  I  would  not  kill  thy  soul.    Othello  '$:». 

I  have  hope  to  live,  and  am  prepar'd  to  die. 

Be  absolute  for  death ;  either  death,  or  life. 

Shall  thereby  be  the  sweeter.    Reason  thus  with  life:— 

If  I  do  lose  thee,  I  do  lose  a  thing 

That  none  but  fools  would  keep.    Meas.  for  Meas.  3:  t. 


4:z. 


SCRIPTURS  THBMBS  IN  SHAKSPBARB 

«.        .  God  «lmlgbtyl 

Jiiere  u  aome  aoul  of  goodness  in  things  evil,  .  .  . 

They  are  our  outward  consciences. 

And  preachers  to  us  all;  admonishing 

That  we  should  dress  ourselves  fairly  for  our  end.    Hen.  V. 

Cowards  die  many  times  before  their  death; 

The  valiant  never  taste  of  death  but  once. 

Of  the  wonders  that  I  yet  have  heard. 

It  seems  to  me  most  strange  that  men  should  fear: 

Seeing  that  death,  a  necessary  end, 

Will  come  when  it  will  come.     Jul.  Caesar  i:i. 

My  frail  mortality  to  know  itself. 

And  by  those  fearful  objects  to  prepare 

This  body,  like  to  them,  to  what  I  must : 

For  death  remember'd  should  be  like  a  mirror. 

Who  tells  us,  life's  but  breath ;  to  trust  it,  error. 

I'll  make  my  will,  then;  and  as  sick  men  do. 

Who  know  the  world,  see  heaven,  but  feeling  woe, 

Gripe  not  at  earthly  joys,  as  erst  they  did: 

So,  I  bequeath  a  happy  peace  to  you. 

And  all  good  men,  as  every  prince  should  do: 

My  riches  to  the  earth  from  whence  they  came, 

But  my  unspotted  fire  of  love  to  you. 

Thus,  ready  for  the  way  of  life  or  death, 

I  wait  the  sharpest  blow.      Pericles  i:  i. 

Every  soldier  in  the  wars  do  as  every  sick  man  in  his  bed,-wash 
every  mote  out  of  his  conscience:  and  dying  so,  death  is  to  him  advan- 
tage; or  not  dymg,  the  time  was  blessedly  lost  (occupied),  wherein 
such  preparation  was  gained:  And  in  him  that  escapes  it  were  not 
sm  to  thmk  that  making  God  so  free  an  offer  He  let  him  outlive  that 
<uy  to  see  his  greatness,  and  to  teach  others  how  they  should  prepare. 

Hen.  V.  4: 1. 


m 


Wsf 


\ 


iM 


4>  SCRIPTVRB  THSMBS  IN  SHAKSPEARS 

FAITHFULNESS— FRIENDSHIP— CONSTANCY 

My  heart  doth  joy,  that  yet  in  all  my  life 

I  found  no  man  but  he  was  true  to  me.    /«/.  Caesar  5;  5. 

.  .  .  recall  the  good  Camilla 
Whom  I  proclaim  a  man  of  truth,  of  mercy:  .  .  . 

.  .  .  and  how  his  piety 
Doth  my  deeds  make  the  blacker.      Winter's  TiJg  3:  *. 

With  all  my  love  I  do  commend  me  to  you : 
And  what  so  poor  a  man  as  Hamlet  is 
May  do,  to  express  his  love  and  friending  to  you 
God  willing,  shall  not  lack.      Ham.  ity 

Love  all,  trust  a  few. 
Do  wrong  to  none:  be  able  for  thine  enemy: 
Rather  in  power  than  use ;  and  keep  thy  friend 
Under  thy  own  life's  key:  be  check'd  for  silence, 
But  never  tax'd  for  speech.    What  Heaven  more  will. 
That  thee  may  furnish,  and  my  prayers  pluck  down. 
Fall  on  thy  head  I      All's  Well  i:  z. 

.  .  .  When  he  was  poor, 
Imprison'd  and  in  scarcity  of  friends, 
I  clear'd  him  with  five  talents.  Greet  him  from  me. 
Bid  him  suppose  some  good  necessity 
Touches  his  friend,  which  craves  to  be  remember'd 
With  those  fve  talents.      Timon  2:2. 

Since  my  dear  soul  was  mistress  of  my  choice, 
And  could  of  men  distinguish,  her  election 
Hath  seal'd  thee  for  herself:  for  thou  hast  been 
As  one  in  suffering  all,  that  suffers  nothing; 
A  man  that  fortune's  buffets  and  rewards 
Has  taken  with  equal  thanks. 

Give  me  that  man 
That  is  not  passion's  slave,  and  I  will  wear  him 
In  my  heart's  core,  ay,  in  my  heart  of  heart, 
As  I  do  thee.     Ham.  3: 2. 


SCRIPTURB  THBMBS  !N  SHAKSPBARB  m 

A  friend  should  bear  hit  friend's  infirmities.    /«/.  Ctusar  4: 3. 
There  are  no  tricks  in  plain  and  simple  faith.    Jul.  Caesar  4:  i. 

O  Heaven !  were  man 
But  constant,  he  were  perfect:  that  one  error 
Fills  him  with  faults;  makes  him  run  through  all  sins. 

Two  Gent.  $:  4. 

I  have  trusted  thee,  Camillo 
With  all  the  nearest  things  to  my  heart,  as  well 
My  chamber-councils:  wherein,  priest-like,  thou 
Hast  cleansed  my  bosom.     Winter's  Tale  i:  i. 

Heaven  bear  witness, 
And  if  I  have  a  conscience  let  it  sink  me, 
Even  as  the  axe  falls,  if  I  be  not  faithful. 
The  law  I  bear  no  malice  for  my  death. 
It  has  d(me  upon  the  premises  but  justice : 
But  those  that  sought  it  I  could  wish  more  Christians: 
Be  what  they  will,  I  heartily  forgive  them. 
Yet  let  them  kwk  they  glory  not  in  mischief, 
Nor  build  their  evils  on  the  graves  of  great  men ; 
Fm-  then  my  guiltless  bkx)d  must  cry  against  them. 
For  further  life  in  this  world  I  ne'er  hope. 
Nor  will  I  sue,  although  the  king  have  mercies 
More  than  I  dare  make  faulu.    You  few  that  lov'd  me. 
And  dare  be  bold  to  weep  for  Buckingham, 
His  noble  friends  and  fellows,  whom  to  leave 
Is  only  bitter  to  him,  only  dying, 
Go  with  me,  like  good  angels,  to  my  end ; 
And,  as  the  long  divorce  of  steel  falls  on  me. 
Make  of  your  prayers  one  sweet  sacrifice. 
And  lift  my  soul  to  heaven. — Lead  on,  o'  God's  name. 

Hen.  Vlll.  2:x, 


Ceremony  was  but  devis'd  at  first. 

To  set  a  gloss  on  faint  deeds,  hollow  wekomes, 

Recanting  goodness,  sorr>'  ere  't  is  shown ; 

But  where  there  is  true  friendship,  there  needs  none. 


II 


I 


M" 


SCRIPTVRB  THBMBS  tN  SHAKSPBARB 


.smit  ii 
■fpf -^f 


What  need  we  have  any  friends.  \t  w(  should  ne'er  have  need  of 
'em?  they  were  the  most  needless  creatures  living,  should  we  ne'er 
have  use  for  'em;  and  would  most  resemble  sweet  instruments  hung 
sp  in  cases,  that  keep  their  sounds  to  themselves.      Timon  i:  /. 

FALSEHOOIX-FLATTERY— DECEIT 

...  A  quicksand  of  deceit.     ///  Htn.  VI.  3:4. 

Flattery  is  the  bellows  bk>ws  up  sin.    PtricUt  t:  9. 

N   One  may  smile  and  smile  and  be  a  villain.    Horn,  i:  5. 

O,  what  may  man  within  him  hide, 

Though  angel  on  the  outer  side,    Meas.  for  Meat.  3:9. 

Ah,  that  deceit  should  steal  such  gentle  shapes. 

And  with  a  virtuous  visor  hide  deep  vice !   Rich.  III.  »: ». 

These  lies  are  like  the  father  that  begets  them : 

Gross  as  a  mounUin,  open,  palpable.     /  Hen.  IV.  2: 4. 

Time  shall  unfold  what  plighted  cunning  hides. 

Who  covers  faults  at  last  with  shame  derides.      King  Lear  i:  /. 

O  that  man's  ears  should  be 
To  counsel  deaf,  but  not  to  flattery!      Timon  i:f. 

...    His  kisses  are  Judas's  own  children. 
And  his  kissing  is  as  full  of  sanctity  as  the  touch  of  holy  bread. 

As  You  Like  It  3:4. 

To  lapse  in  fulness 
Is  sorer  than  to  lie  for  need ;  and  falsehood 
Is  worse  in  kings  than  beggars.      Cytnb.  3:6. 

Who  having  unto  truth,  by  telling  of  it : 
Made  such  a  sinner  of  his  memory 
To  credit  his  own  lie.      Tempest  i:2. 


SCRIPTVRB  THBMBS  W  SHAKSPBARB 

_.       .  Now  I  think  on't. 

They  should  be  good  men  .flFairg  as  righteous: 

But  all  hoods  make  not  monks.      Hen.  Vlll.  j:  /. 

Tis  sin  to  flatter,  good  was  little  better, 
Good  GkMter  and  good  devil  were  alike, 
And  both  preposterous.     ///  Hen.  VI.  y6. 

Apparel  vice  like  virtues  harbinger: 

Bear  a  fair  presence,  though  your  heart  be  tainted; 

Teach  sin  the  carriage  of  a  holy  saint ; 

Be  secret-false.      Com.  of  Err.  j:  i. 

Seems  he  a  dove?  his  feathers  are  but  borrow'd. 

For  he's  disposed  as  the  hateful  raven. 

Is  he  a  lamb  ?  his  skin  is  surely  lent  him, 

For  he's  inclin'd  as  is  the  ravenous  wolf, 

Who  cannot  steal  a  shape,  that  means  deceit?    //  Htn.  VI.  y.t. 

The  world  is  still  deceiv'd  with  ornament, 
In  law,  what  plea  so  tainted  and  corrupt. 
But,  being  season 'd  with  a  gracious  voice, 
Obscures  the  show  of  evil?    In  religion,  ' 
What  damned  error,  but  some  sober  brow 
Will  bless  it,  and  approve  it  with  a  text. 
Hiding  the  grossness  with  fair  ornament  ? 
There  is  no  vice  so  simple,  but  assumes 
Some  mark  of  virtue  on  his  outward  parts. 


Met.  of  Ven.  j:  2. 


He  was  a  man 
Of  an  unbounded  stomach,  ever  ranking 
Himself  with  princes ;  one,  that  by  suggestion 
Tied  all  the  kingdom :  simony  was  fair  play : 
His  own  opinion  was  his  law :  i'  the  presence 
He  would  say  untruths,  and  be  ever  double. 
Both  in  his  words  and  meaning.    He  was  never. 
But  where  he  meant  to  ruin,  pitiful : 
His  promises  were,  as  he  then  was,  mighty : 
But  his  performance,  as  he  is  now,  nothing. 
Of  his  own  bodj  '  e  was  ill,  and  gave 
The  clergy  ill  example.      Hen.  VHI.  4:  z. 


i  1 


:| 


if 


144  SCRIPTURE  THEMES  IN  SHAKSPEARB 

Why  this  is  the  world's  soul; 

And  just  of  the  same  piece 

Is  every  flatterer's  sport:  who  can  call  him  his  friend 

That  dips  in  the  same  dish?      Timons:^. 

The  devil  can  cite  Scripture  for  his  purpose. 

An  evil  soul,  producing  holy  witness, 

Is  like  a  villain  with  a  smiling  cheek, 

A  goodly  apple  rotten  at  the  heart. 

O,  what  a  goodly  outside  falsehood  hath  I     Mtr.  of  Ven.  /:  j. 

Divinity  of  hell ! 
When  devils  will  their  blackest  sins  put  on. 
They  do  suggest  at  first  with  heavenly  shows. 
As  I  do  now;  .  .  . 
So  will  I  turn  her  virtue  into  pitch, 
Ajid  out  of  her  own  goodness  make  the  net. 
That  shall  enmesh  them  all.      Othello  2:3. 

Sweet  prince,  the  untainted  virtue  of  your  years 

Hath  not  yet  div'd  into  the  world's  deceit: 

No  more  can  you  distinguish  of  a  man. 

Than  of  his  outward  show;  whfch,  God  he  knows, 

Sddom,  or  never,  jumpeth  with  the  heart. 

pose  uncles,  which  you  want,  were  dangerous; 

Your  grace  attended  to  their  sugar'd  words 

But  look'd  not  on  the  poison  of  their  hearts': 

God  keep  you  from  them,  and  from  such  false  friends ! 

Rich.  III.  3:  r. 
Think'st  thou  III  endanger  my  soul  gratis? 
ha^H  *oL"i,^?''  '^^irnts,  leaving  the  fear  of  Heaven  on  the  left 
hand^  and  h.dmgmme  honor  in  my  necessity,  am  fain  to  shuffle,  to 
hedge,  and  to  lurch.     Merry  Wives  2: 2. 

rrll!!,t^'  St.  "°*  *''**  ''*  ^'^'  ''•'«'  h^  «"«<««  man  politfc-  he 
crossed  himself  by't;  and  I  cannot  think,  but,  in  the  end  thrvSi„J^ 

S    woSnitTh':?  *'  T  "'''^'•?'  "'A*°"  *•»*'  under'h^aZt 


SCRIPTURE  THEMES  IN  SHAKSPEARE 

O  serpent  heart,  hid  with  a  flowering  face ! 
Did  ever  dragon  keep  so  fair  a  cave? 
Beautiful  tyrant ;  fiend  angelical  I 
Dove-feather'd  raven!  wolvish-ravening  Iambi 
Despised  substance  of  divinest  show! 
Just  opposite  to  what  thou  justly  seem'st; 

A  damned  saint,  an  honorable  villain  I 

O,  nature !  what  hadst  thou  to  do  in  hell. 

When  thou  didst  pour  the  spirit  of  a  fiend 

In  mortal  paradise  of  such  sweet  flesh  ?^ 

Was  ever  book  containing  such  vile  matter. 

So  fairly  bound?    O,  that  deceit  should  dwell 

In  such  a  gorgeous  palace!  .  .  There's  no  trust. 

No  faith,  no  honesty  in  men ;  all  perjur'd, 

All  forsworn,  all  naught,  all  dissemblers.— iJom.  and  Jul.  3."^.. 


Us 


FORGIVENESS— PARDON 

God  forgive  the  sin  of  all  those  souls.     King  John  3:  i. 

If  there  be  any  such.  Heaven  pardon  him !    Othello  4: 2. 

O  God  1  forgive  my  sins,  and  pardon  thee !     ///  Hen.  VI.  5;  '6. 

God  forgive  them  that  so  much  have  sway'd.    /  Hen.  IV.  ^-.g. 

Who  by  repentance  is  not  satisfied 
Is  not  of  Heaven.      Two  Gent.  5: 4. 

More  needs  she  the  divine  than  the  physician, 
God,  God ;  forgive  us  all !    Macb.  3:  i. 

Lady,  you  know  no  rules  of  charity. 

Which  renders  good  for  bad,  blessings  for  cursings. 

Rich  III.  z:j,  • 
God  pardon  him  f  I  do  with  all  my  heart ; 
And  yet  no  man,  like  he,  doth  grieve  my  heart. 

Rom.  and  Jul.  ?;  t  . 


y|ii 


! 


i^ 


ti 


5  SCRIPTURE  THEMES  IN  SHAKSPBARE 

I  do  think  that  you  mig^t  pardon  him 

And  neither  Heaven,  nor  man,  grieve  at  the  mercy. 

Meas.  for  Meas.  2:2. 

Ignomy  in  ransom,  and  free  pardon. 

Are  of  two  houses:  lawful  mercy 

Is  nothing  kin  to  foul  redemption.     Meas.  for  Meas.  2: 4. 

Forgive  me  my  foul  murder  1 — 
That  cannot  be;  since  I  am  still  possess'd 
Of  those  effects  for  which  I  did  the  murder. 
.  .  .  May  one  be  pardon'd,  and  retain  the  offence?     Ham.  3:3. 

Well  Heaven  forgive  him  I  and  forgive  us  all : 

Some  rise  by  sin,  and  some  by  virtue  fall : 

Some  run  from  brakes  of  ice,  and  answer  none ; 

And  some  condemned  for  a  fault  alone.      Meas.  for  Meas.  2:  i. 

Are  you  so  gospell'd 
To  pray  for  this  good  man,  and  for  his  issue. 
Whose  heavy  hand  hath  bow'd  you  to  the  grave, 
And  beggar 'd  yours  forever?      Macb.  j; /. 

God  be  thanked  for  prevention ; 
Which  I  in  sufferance  heartily  will  rejoice, 
Beseeching  God,  and  you,  to  pardon  me.  .  .  . 
God  quit  you  in  His  mercy  I      Hen.  V.  2: 2. 

I  as  free  forgive  you. 
As  I  would  be  forgiven :  I  forgive  all : 
There  cannot  be  those  numberless  offenses 
'Gainst  me,  that  I  cannot  take  peace  with :  no  black  envy 
Shall  make  my  grave.    Commend  me  to  his  grace ; 
And,  if  he  speak  of  Buckingham,  pray,  tell  him. 
You  met  him  half  in  heaven.    My  vows  and  prayers 
Yet  are  the  king's ;  and,  till  my  soul  forsake. 
Shall  cry  for  blessings  on  him :  may  he  live 
Longer  than  I  have  time  to  tell  his  years. 
Ever  belov'd,  and  loving,  may  his  rule  be : 
And  when  old  time  shall  lead  him  to  his  end, 
Goodness  and  he  fill  up  one  monument!      Hen.  VUI.  2: r. 


SCRIPTURE  THEMES  IN  SHAKSPEARS 

Duch.    A  virtuous  and  Christianlike  conclusion, 

To  pray  for  them  that  have  done  scath  to  us.    Rich.  III.  1:3. 

I  rather  do  beseech  you  pardon  me. 

Who,  earnest  in  the  service  of  my  God, 

Neglect  the  visitation  of  my  friends.      Rich.  III.  j;  7. 

An  if  I  were  thy  nurse,  thy  tongue  to  teach. 

Pardon  should  be  the  first  word  of  thy  speech. 

I  never  long'd  to  hear  a  word  till  now; 

Say— pardon,  king;  let  pity  teach  thee  how: 

The  word  is  short,  but  not  so  short  as  sweet; 

No  word  like  pardon,  for  king's  mouths  so  meet. 

Dost  thou  teach  pardon  pardon  to  destroy  2 
Ah,  my  sour  husband,  my  hard-hearted  lord. 
That  sett'st  the  word  itself  against  the  word ! 

Speak,  pardon,  as  'tis  current  in  our  land; 
Thine  eye  begins  to  speak,  set  thy  tongue  there. 
Or  in  thy  piteous  heart  plant  thou  thine  ear; 
That  hearing  how  our  plaints  and  prayers  do  pierce. 
Pity  may  move  thee  pardon  to  rehearse. 

I  do  not  sue  to  stand 

Pardon  is  all  the  suit  I  have  in  hand. 
Baling.    I  pardon  him,  as  God  shall  pardon  me. 
Duch.     O,  happy  vantage  of  a  kneeling  knee ! 
Yet  am  I  sick  for  fear:  speak  it  again; 
Twice  saying  pardon  doth  not  pardon  twain. 
But  makes  one  pardon  strong.  '      jj,-^^  //  »• » 


Mr 


I:! 

Is 

i\ 


ft 


148 


SCRIPTURE  THEMES  IN  SHAKSPEARE 


GOD'S  ATTRIBUTES 
By  Him  that  made  me.     /  Hen.  VI.  2:4. 
By  Him  that  made  us  all.     ///  Hen.  VI.  2:2. 
Grtat  God!  how  just  art  Thou.     //  Hen.  VI.  5; /. 
This  lies  all  within  the  will  of  God.     Hen.  V.  1:2. 
So  just  is  God,  to  right  the  innocent      Rich.  III.  1:3. 
O,  upright,  just  and  true-disposing  God.      Rich.  III.  4: 4. 
Mercy  ...  is  an  attribute  to  God  himself.     Mer.  of  Ven.  4:  i. 
Eternal  Mover  of  the  heavens.     (See  Death.)      //  Hen.  VI.  3:3. 
*•  Or  that  the  Everlasting  had  not  fixed.      (See  Suicide.)    Ham.  1:2. 
It  is  not  so  with  Him  that  all  things  knows.     All's  Well  2:  i. 


By  the  eternal  God,  whose  name  and  power 
Thou  tremblest  at.      //  Hen.  VI.  i:  4. 

A  greater  Power  than  we  can  contradict 

Hath  thwarted  our  designs.     Rom.  and  Jul.  5:3. 

God  omnipotent 
Is  mustering  in  his  clouds,  on  our  behalf.      Rich.  II.  3: 3. 

If  powers  divine 
Behold  our  human  actions,  as  they  do.     Winter's  Tale  3: 2. 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


>• 


GOD  OUR  DEFENCE  AND  HELE 

In  the  great  hand  of  God  I  stand.     Macb.  2:3. 

God  befriend  us,  as  our  cause  is  just.     /  Hen.  IV.  y.  i. 

God  on  our  side,  doubt  not  of  victory.     //  Hen.  VI.  4: 8. 

God  and  his  ange.'-i  guard  your  sacred  throne.     Hen.  V.  i:  2. 

We  are  in  God's  hands  brother,  not  in  their's.      Hen.  V.  j;  6. 

The  Lord  protect  him,  for  he's  a  good  man  I 
Jesu,  bless  him!     //  Hen.  VI.  1:3. 

Arm,  arm  you  heavens,  against  these  perjur'd  kings 
A  widow  cries ;  be  husband  to  me.     King  John  j;  /. 

O  God,  thy  arm  was  here. 
And  not  to  us,  but  to  thy  arm  alone. 
Ascribe  we  all.      Hen.  V.  4: 8. 

The  breath  ot  worldly  men  cannot  depose 

The  deputy  elected  by  the  Lord.      Rich.  II.  3:2. 

But  as  we,  under  Heaven  are  supreme  head, 

So,  under  Him,  that  great  supremacy.      King  John  3:  i. 

All  places  that  the  eye  of  heaven  visits 

Are  to  a  wise  man  ports  and  happy  havens.     Rich.  II.  1:3. 

Let  us  be  back'd  with  God,  and  with  the  seas, 

Which  he  hath  given  for  fence  impregnable.     ///  Hen.  VI.  4:  i. 

God  knows  how  long  it  is  I  have  to  live 

And  it  hath  pleas'd  him  that  three  times  to-day 

You  have  defended  me  from  imminent  death.     //  Hen.  VI.  '5: 3. 

Thou  God  of  this  vast,  rebuke  these  surges, 

Which  wash  both  heaven  and  hell:  and  thou  that  hast 

Upon  the  winds  command,  bind  them  in  brass.      Pericles  3:  i. 


XS» 


SCRIPTURE  THEMES  IN  SHAKSPBAR8 


1 1 ;  I 


i 


GOD  OUR  TRUST— NOT  MAN 

Give  your  cause  to  Heaven.     Meas.  for  Mens.  4:3. 

Praised  be  God,  and  not  our  strength,  for  it !     Hen.  V.  4: 7. 

O,  momentary  grace  of  mortal  man 

.Which  we  more  hunt  for  than  the  grace  of  God.      Rich.  III.  3: 4. 

There  is  your  crown: 
And  he  that  wears  the  crown  immortally, 
Long  guard  it  yours  1     //  Hen.  IV.  4:4. 

O  Cromwell,  Cromwell, 
Had  I  but  serv'd  my  God  with  half  the  zeal 
I  served  my  king,  He  would  not  in  mine  age 
Have  left  me  naked  to  mine  enemies.      Hen.  VHI.  3: 4. 

It  is  not  so  with  Him  that  all  things  knows. 

As  'tis  with  us  that  square  our  guess  by  shows ; 

But  most  it  is  presumption  in  us,  when 

The  help  of  Heaven  we  count  the  act  of  men.     All's  Well  z:  i. 


M  \i 


GOLD— MONEY  (See  Wealth) 

"  All  that  glisters  is  not  gold."    Mer.  of  Ven.  2:  J. 

All  gold  and  silver  rather  turn  to  dirt ! 
As  'tis  no  better  reckoned,  but  of  those 
Who  worship  dirty  gods.      Cymh.  3:6. 

Plate  sin  with  gold. 
And  the  strong  lance  of  justice  hurtless  breaks : 
Arm  it  in  rags,  a  pigmy's  straw  doth  pierce  it.    King  Lear  4: 6 

There  is  thy  gold ;  worse  poison  to  men's  souls. 

Doing  more  murder  in  this  loathsome  world. 

Than  these  poor  compounds  that  thou  may'st  not  sell : 

I  sell  thee  poison,  thou  hast  sold  me  none.     Rom.  and  Jul.  5:  i. 


SCRIPTURB  THBMBS  IN  SUAKSPBARS 

Know'rt  thou  not  any  whom  comipting  gold 

Would  tempt  unto  a  close  exploit  of  death?  .  .  . 

Gold  were  as  good  as  twenty  orators 

And  wiU  no  doubt  tempt  him  to  anything.      Rich.  III.  4:  g. 

lift.  '^''  8o'<^ 

Which  buys  admittance:  oft  it  doth;  yea,  and  malces 

Diana's  rangers  false  themselves,  yield  up 

Their  deer  to  the  stand  o'  the  stealer;  and  'tis  gold 

Which  makes  the  true  man  kill'd,  and  saves  the  thief; 

Nay,  sometimes  hangs  both  thief  and  true  man:  what 

Can  it  not  do,  and  undo?      Cymb.  2: 3. 

Though  you,  and  all  the  kings  of  Christendom, 
Are  led  so  grossly  by  this  meddling  priest. 
Dreading  the  curse  that  money  may  buy  out, 
And,  by  the  merit  of  vile  gold,  dross,  dust. 
Purchase  corrupted  pardon  of  a  man. 
Who,  in  that  sale,  sells  pardon  from  himself; 
Though  you,  and  all  the  rest,  so  grossly  led. 
This  juggling  witchcraft  with  revenue  cherish ; 
Yet  I,  alone,  alone  do  me  oppose 
Against  the  pope,  and  count  his  friends  my  foes. 

King  John  j:  /. 

What  is  here? 
Gold?  yellow,  glittering,  precious  gold? 
.  .  .  Much  of  this  will  make 
Black,  white;  foul,  fair;  wrong,  right; 
Base,  noble ;  old,  young ;  coward,  valiant. 

.  .  .  Why  this 
Will  buy  your  priests  and  servants  from  your  sides; 
Pluck  stout  men's  pillows  from  below  their  heads: 
This  yellow  slave 

Will  knit  and  break  religions ;  bless  the  accurs'd ; 
Make  the  hoar  leprosy  ador'd ;  place  thieves. 
And  give  them  title,  knee,  and  approbation 
With  senators  on  the  bench.      Timon.  4:3. 


«$i 


S3* 


SCRIPTURE  THEMES  IN  SHAKSPBARS 


GRACE  BEFORE  MEAT 

Your  soldiers  use  him  as  the  grace  'fore  meat 
Their  talk  at  table,  and  their  thanks  at  end.    Corio.  4: 7. 

Grace  thou  wilt  have  none, — 
No,  by  my  troth;  not  so  much  as  will  serve  to  be  a  prologue  to 
an  egg  and  butter.     /  Hen.  IV.  i:  2. 

Will  you  give  thanks,  sweet  Kate,  or  else  shall  I? 

Tarn,  of  Shrew  4:  z. 

While  grace  is  saying,  hood  mine  eyes 
Thus  with  my  hat,  and  sigh  and  say.  amen.    (See  Hypocrisy.) 

Mer.  of  Ven.  i:  2. 

t  Gent.  There's  not  a  soldier  of  us  that,  in  the  thanksgiving  before 
meat,  doth  relish  the  petition  well  that  prays  for  peace. 

2  Gent.    I  never  heard  any  soldier  dislike  it. 

Lucio.    I  believe  thee;  for  I  think  thou  never  wast  where  grace 
was  said. 

2  Gent.  No?    A  dozen  times  at  least. 

/  Gent.  What?  in  metre? 

Lucio.  In  any  proportion,  or  in  any  language. 

Meas.  for  Meas.  i:  2. 


wm 


GRATITUDE— INGRATITUDE 

Ingratitude!  thou  marble-hearted  fiend.      King  Lear  1:4. 

Ingratitude,  more  strong  than  traitor's  arms.      Jul.  Caesar  3:2. 

How  sharper  than  a  serpent's  tooth  it  is 
To  have  a  thankless  child.      King  Lear  i.  4. 

O  Lord,  that  lends  me  life. 

Lend  me  a  heart  replete  with  thankfulness!      11  Hen.  VL  Z:i. 

Filial  ingratitude ! 
Is  it  not  as  this  mouth  should  tear  this  hand, 
For  lifting  food  to  't?    King  Lear  j:  4. 


SCRIPTURE  THEMES  IN  SHAKSPEARE  isf 

I  hate  ingratitude  more  in  a  man 

Than  lying,  vainness,  babbling,  drunkenness. 

Or  any  taint  of  vice.      Twelfth  Night  3: 4. 

Time  hath,  my  lord,  a  wallet  at  his  back. 

Wherein  he  puts  alms  for  oblivion, 

A  great-sized  monster  of  ingratitude; 

Those  scraps  are  good  deeds  past:  which  are  devour'd 

As  fast  as  they  are  made,  forgot  as  soon 

As  done.      Trot,  and  Cres.  3:3. 

The  sin  of  my  ingratitude  even  now 

Was  heavy  on  me :  thou  'rt  so  far  before, 

That  swiftest  wing  of  recompense  is  slow 

To  overtake  thee.    Would  thou  hadst  less  deserved, 

That  the  proportion  both  of  thanks  and  payment 

Might  have  been  mine.    Macb.  i:  4. 

God  is  much  displeased 
That  you  take  with  unthank fulness  his  doing; 
In  common  worldly  things  'tis  called  ungrateful. 
With  dull  unwillingness  to  repay  a  debt, 
Which  with  bounteous  hand  was  kindly  lent; 
Much  more  to  be  thus  opposite  with  Heaven, 
For  it  requires  the  royal  debt  it  lent  you.    Rich.  III.  g:z 

Blow,  blow,  thou  winter  wind. 
Thou  art  not  so  unkind 

As  man's  ingratitude; 
Thy  tooth  is  not  so  keen. 
Because  thou  art  not  seen, 

Although  thy  breath  be  rude. 

Freeze,  freeze,  thou  bitter  sky. 
Thou  dost  not  bite  so  nigh 

As  benefits  forgot: 
Though  thou  the  waters  warp, 
Thy  sting  is  not  so  sharp 
As  friend  remember'd  not. 

Song  in  As  You  Like  It  2: 7. 

Ingratitude  is  monstrous :  and  for  the  multitude  to  be  ungrateful  were 
to  make  a  monster  of  the  multitude.    Corio.  2:3. 


if' 


t  -. 


■ 


IS4 


SCRIPTURE  THBUBS  IN  SHAKSPBARS 


»■*! 


1,  I 


«.  a 


4 


HEAVEN 

O  all  you  IxMt  of  heaven !     Ham.  i:  j. 

He  witheth  you  in  heaven.    (See  Hell.)      /  Htn.  IV.  3:1. 

There's  husbandry  in  heaven. 
Their  candles  are  all  out.      Macb.  a:  i. 

My  name  be  blotted  from  the  book  of  life, 
And  I  from  heaven  banished.      Rich.  I.  1:3. 

He  wants  nothing  of  a  god  but 

Eternity,  and  a  heaven  to  throne  in.      Corio.  y.  4. 

^    There  are  more  things  in  heaven  and  earth. — 

Than  are  dreamt  of  in  our  philosophy.      Ham.  i:j. 

My  soul  shall  thine  keep  company  to  heaven ; 

Tarry,  sweet  soul,  for  mine,  then  fly  abreast.    Hen.  V.  4:6. 

I  here  protest ;  in  sight  of  Heaven, 
And  by  the  hope  I  have  of  heavenly  bliss.      ///.  Hen.  VI.  j: .-. 

The  poet's  eye,  in  a  fine  frenzy  rolling, 

Doth  glance  from  heaven  to  earth,  from  earth  to  heaven. 

Mid.  Dream  5;/. 

My  husband  is  on  earth,  my  faith  in  heaven ; 

How  shall  that  faith  return  again  to  earth. 

Unless  that  husband  send  it  mie  from  heaven?     Rom.  and  Jul.  j.-t 

Fare  you  well ; 
Hereafter,  in  a  better  world  than  this 
I  shall  desire  more  love  and  knowledge  of  you.    As  You  Like  It  i:  2 

Yet  that  thy  brazen  gates  of  Heaven  may  ope, 

And  give  sweet  passage  to  my  sinful  soul 

Now  lords,  take  leave,  until  we  meet  again 

Where  e'er  it  be,  in  Heaven,  or  on  earth.     ///  Hen.  VI.  2:3. 


\ 


SCRtPTURB  THBMBS  IS  SHAKSfBARB  m 

F»xm»  this  evth'a  thraldom  to  the  joyt  of  heaven.     RieK.  III.  i:  4. 

Heaven's  above  all ;  and  tlwre  be  louli  mutt  be  laved,  and  there  be 
■ouls  must  not  be  saved.    OtMlo  a:  j. 

Would  I  were  with  him,  either  in  heaven,  or  in  hell ! 
Nay,  sure,  he's  in  Arthur's'  bosom,  if  ever  man  went  to  Arthur'a 
bosom.     Hen.  V.  a:  3. 

I  know  his  soul  is  in  heaven,  fool. 

The  more  fool.  Madonna,  to  mourn  for  your  brother's  soul  being  in 
heaven.      Twelfth  Night  /.-j. 


HEAVEN,  RECOGNITION  IN 

When  I  am  in  heaven,  I  shall  desire 
To  see  what  this  child  docs,  and  praise  my  Maker.    Hen.  VIII.  5;  4. 

Warwick  bids 
You  all  farewell,  to  meet  again  in  heaven.      ///.  Hen.  VI.  5;  a. 

So  part  we  sadly  in  this  troublous  world. 

To  meet  with  joy  in  sweet  Jerusalem.      ///.  Hen.  VI.  y  S- 

God  be  wi'  vou  princes  all :  I'll  to  my  charge: 
If  we  no  more  meet  till  we  meet  in  heaven, 
Then,  joyfully.      Hen.  V.  4:3. 

Father  Cardinal,  I  have  heard  you  say, 

That  we  shall  see  and  know  our  friends  in  ht  ven : 

If  that  be  true,  I  shall  see  my  boy  again ;  .  .  .  . 

And  so  hell  die ;  and,  rising  so  again, 

When  I  shall  meet  him  in  the  court  of  heaven 

I  shall  not  know  him.      King  John  3  4. 

*  Abraham's  bosom. 


f 


ii.Li      ,  1 


H- 


I 


>|i 


SCRJPTURB  THBUBS  IN  SHAKSPSARS 


HELL 
Aa  l>Uck  u  bell,  u  dark  u  night     S'tfUMf  147. 
Til  the  cunoing  livery  of  helL     Meat,  for  Mtas.  j;  /. 
By  hell,  and  all  hell'i  tormenu.      Troi.  and  Cret.  y». 
Am  I  inearth,  in  heaven,  or  in  hell?     Com.  of  Err.  j:  *. 
The  fires  i'  the  lowest  hell  fold  in  the  people.     Corio.  3: 3. 
Such  devils  steal  effects  from  lightless  hell.      Lucrece  St.  «j, 
I  think  his  soul  is  in  hell.    (See  Heaven.)    Twelfth  Night  1:3. 
Thou  cam'st  on  earth  to  make  the  earth  my  hell.     Rich.  III.  4: 4. 
One  sees  more  devils  than  vast  hell  can  hold.     Mid.  Dream  y.i. 

If  the  bottom  were  as  deen  as  hell  I  should  drown. 

Merry  Wives  3;  3. 

I  would  '  were  hell-pains  for  thy  sake,  and  my  poor  doing  etemaL 

All's  Well  2:3. 

Hell  is  empty, 
And  all  the  devils  are  here.     Tempest  i:  i. 

.  .  .  Yet  none  knows  well 
To  shun  the  heaven  that  leads  men  to  this  hell.     Sonnet  la^   , 

I  am  damned  in  hell  for  swearing  .  .  . 

.  .  .  Think'st  thou  I'll  endanger  my  soul  gratis f    Merry  Wives  i:». 

If  there  be  devils,  would  I  were  a  devil, 

To  live  and  bum  in  everlasting  fire. 

So  I  might  have  your  company  in  hell 

But  to  torment  you  with  my  bitter  tongue  I    Txtns  /itid.  3;  /.  > 


SCRIPTURE  THBJUBS  IN  SHAKSPBARB 

No:  thou^  thou  call'rt  thyielf  a  hotter  name 
Than  any  U  in  heU.     Afaeb.  y  7. 

!!?;  **irllL'"*'  ?*"  ^"^  •**  ^'  "»*•  on  him 
And  aU  their  minuters  attend  on  him.     Rich.  Ill,  /.•  j. 

0  then,  what  graces  in  my  love  do  dwell 

That  he  hath  tum'd  a  heaven  into  a  hell.  '  Mid.  Dream  /;/. 

1  thiri.      s  T*ibot  b^  a  fiend  of  hell. 

If  n  '  of    .;>,   h^       v.n.    :ure  favor  him.     /  Hen.  VI.  i:  /. 

r>cv  ..  ^..  *n.  to  \  t.    end     V  I  sent  thee  thither 

T.  ^  -  ..a    .  i,ei.N  .    ;  ity  ^  f^^         jjj  ^^^     ^j    ^^ 

^ -^ul  *  •;'  /..  .'^o.      ...kc  hence  and  trouble  us  not; 

}:..>T  ,ho,  la:    -a^e  the  happy  earth  thy  hell.      Rich.  III.  /;,. 

And  as  I  ;:,rust  tl,     uJ:  in  with  my  sword, 

So  wisl. .,      n    ht  thri-    thy  soul  to  hell.     //  Hen.  VI.  4:  to. 

And  be  my  heart  an  ever-burning  hell, 

These  miseries  are  more  than  may  be  borne.      Titus  And.  3:  /. 

But  purpitory.  torture,  hell  itself  .  .  .  banished? 

O  fnar,  the  damned  use  that  word  in  hell.    Rom.  and  Jul.  3:3. 

And  that  deep  torture  may  be  call'd  a  hell 

When  more  is  felt  than  one  hath  power  to  tell.    Lucrece  St.  184. 

Fare  thee  well; 
A  fiend  hke  thee  might  bear  my  soul  to  hell.    Twelfth  Night  3: 4. 

rh^y»,^^tA  ^    "k  "  the  badge  of  hell, 

The  hue  of  dungeons,  and  the  sec      of  night.    Love's  Labor  4:3. 

I  will  stir  up  in  England  some  black  storm 

Shall  blow  ten  thousand  souls  to  heaven  or  hell.    //  Hen.  VI.  3:1. 

Be  thou  a  spirit  of  health,  or  goblin  damn'd 

Bnng  with  thee  airs  from  heaven,  or  blasts  from  hell  1     Ham.  i:  4. 


m 


V 


m 


SCRIPTURE  THEMES  IN  SHAKSPEARE 


O,  if  men  were  to  be  saved  by  merit,  what  hole  in  hell  were  hot  enough 
for  him?     /  Hen.  IV.  1:2. 

If  I  would  not  have  taken  him  at  a  word,  I  would  I  might  go  to  Hell 
among  the  rogues.      Jul.  Caesar  i:  2. 

I  think  the  devil  will  not  have  me  damned,  lest  the  oil  that  is  in  me 
should  set  hell  on  fire.   Merry  Wives  5: 5. 

I  never  see  thy  face,  but  I  think  upon  hell-fire,  and  Dives  that  lived  in 
purple ;  for  there  he  is  in  his  robes,  burning,  burning. 

I  Hen.  ly.  3: 3. 
False  as  hell.  .  .  .  you 
That  have  the  office  opposite  to  Saint  Peter, 
And  keep  the  gate  of  hell.    Othello  4: 2. 

Not  in  the  legions 
Of  horrid  hell,  can  come  a  devil  more  damn'd 
In  evils,  to  top  Macbeth.  .  .  . 

Had  I  power,  I  should 
Pour  the  sweet  milk  of  concord  into  hell. 
Uproar  the  universal  peace,  confound 
All  unity  on  earth.     Mach.  4: 3. 

Hell  and  night 
Must  bring  this  monstrous  birth  to  the  world's  light. 


As  low  as  hell's  from  heaven.    Othello  i:  3  and  2: 1. 

No,  he  is  in  Tartar  limbo,  worse  than  hell 

A  devil  in  an  everlasting  garment  hath  him ; 

One  whose  hard  heart  is  button'd  up  with  steel ;  .  .  . 

One  that,  before  judgment,  carries  poor  souls  to  hell. 

Com.  of  Err.  '4:2. 

This  outward-sainted  deputy 
...  is  yet  a  devil; 
His  filth  within  being  cast,  he  would  appear    , 
A  pond  as  deep  as  hell.  .  .  . 
O,  'tis  the  cunning  livery  of  hell. 
The  damned'st  body  to  invest  and  cover 
In  precise  guards.     Meas.  for  Meas.  3:  z. 


11 


SCRIPTURE  THEMES  IN  SHAKSPEARB  «, 

Go  thou  and  fill  another  room  in  hell. 

That  hand  shall  bum  in  never-quenching  fire, 

That  staggers  thus  my  person.    Rich.  II.  y  5. 

-,_      .  I  cannot  tell 

What  heaven  hath  given  him:  let  some  graver  eye 

Pierce  into  that ;  but  I  can  see  his  pride 

Peep  through  each  part  of  him :  whence  has  he  that? 

If  not  from  hell,  the  devil  is  a  niggard; 

Or  has  given  all  before,  and  he  begins 

A  new  hell  in  himself.     Hen.  VIII.  z:  7. 

To  win  me  soon  to  hell,  my  female  evil 

Tempteth  my  better  angel  from  my  side, 

And  would  corrupt  my  saint  to  be  a  devii. 

Wooing  his  purity  with  her  foul  pride. 

And  whether  that  my  angel  be  tum'd  fiend. 

Suspect  I  may,  yet  not  directly  tell ; 

But  being  both  from  me,  both  to  each  friend, 

I  guess  one  angel  in  another's  hell : 
Yet  this  shall  I  ne'er  know,  but  live  in  doubt. 
Till  my  bad  angel  fire  my  good  one  out.     Sonnet  144. 

JfT'u^^Au  *  ^^^"^'  '"'^''^'    "  »  "*"  ^^^  porter  of  hell- 

r    1;  u^Vr        f'  '  *^^  "^^  °^  Belzebub?-Here's  a  farmer  that 
hanged  h>mself  on  the  expectation  of  plenty:  come  in  timeXvTnat 
kms  enough  about  you ;  here  you'll  sweat  for't.     [Knocking.]     kZu 
knock:    Who's  there,  in  the  other  devil's  nameP-'Faith    here"s  an 
equivocator,  that  could  swear  in  both  the  scales  against  e  ther  sLe 

t^Lr™' o  'ZT'^^'' '°  ■  ^'^ ''''' '''  ^^''  norequVsi;' 

i!.    t     «'n.  ,     ^^  '"'   eq^'Vocator-     [Knocking.]     Knock   knock 
s^aJing  out  of  a  French  hose :  come  in,  tailor ;  here  you  may  roast  your 


Ift» 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


HYPOCRISY— INSINCERITY  (See  Fawehood) 

False  face  must  hide  what  the  false  heart  doth  know.    Macb.  i:  /. 

Ye  have  angel's  faces,  but  heaven  knows  your  hearts.    Hen.  VIII.  3:  i. 

How  holily  he  works  in  all  his  business!    Hen.  VIII.  2:2. 

4     Your  bait  of  falsehood  takes  this  carp  of  truth.    Ham.  i:  t. 

O,  what  authority  and  show  of  truth 

Can  cunning  sin  cover  itself  withal !   Much  Ado  4:  l. 


'Tis  too  much  prov'd,  that,  with  devotion's  vi&ige, 
And  pious  actions,  we  do  sugar  o'er 
The  devil  himself.   Ham.  j;  /. 

Would  it  not  grieve  an  able  man,  to  leave 

So  sweet  a  bedfellow  ?    Biit  conscience,  conscience, — 

O,  'tis  a  tender  place,  and  I  must  leave  her.    Hen.  VIII.  2: 2. 

Did  they  not  sometimes  cry.  All  hail !  to  me 

So  Judas  did  to  Christ ;  but  he  in  twelve 

Found  truth  in  all  but  one ;  I,  in  twelve  thousand  none.   Rich.  II.  4:  i. 

God  hath  given  you  one  face,  and  you  make  yourselves  another ;  yoa 
jig,  you  amble,  and  you  lisp,  and  nickname  God's  creatures,  and  make 
your  wantonness  your  ignorance.      Ham.  j;  /. 

Look  like  the  time,  bear  welcome  in  your  eye. 
Your  hand,  your  tongue :  loo^  like  the  innocent  flower, 
But  be  the  serpent  under't.    He  that's  coming 
Must  be  provided  for.    Macb.  1:3. 

If  I  do  not  put  on  a  sober  habit, 
Talk  with  respect,  and  swear  but  now  and  then, 
Wear  prayer-books  in  my  pocket,  look  demurely; 
Nay  more,  while  grace  is  saying,  hood  mine  eyes 
Thus  with  my  hat,  and  sigh,  and  say  amen ; 
.  .  .  never  trust  me  more.    Mer.  of  Ven.  2:2, 


\k 


!'■  ii 


SCRIPTURE  THEMES  IN  SHAKSPEARE  m 

And  that  I  love  the  tree  from  whence  thou  sprang'st 

Witness  the  loving  kiss  I  give  the  fruit  :- 

To  say  the  truth,  so  Judas  kissed  his  Master 

And  cried,  All  hail  I  when  he  meant-all  harm.    Hen.  VI.  5: 7. 

^         .  Now  the  bishop 

Turns  msurrection  to  religion : 

Suppos'd  sincere  and  holy  in  his  thoughts 

He's  follow'd  both  with  body  and  with  mind.     //  Hen.  IV.  i:  /. 

Thou  concludest  like  the  sanctimonious  pirate,  that  went  to  sea  with 
the  ten  commandments  but  scraped  one  out  of  the  table 
Thou  shalt  not  steal  ? 
Ay,  that  he  razed.    Aleas.  for  Meas.  i:  2. 

Trust  not  those  cunning  waters  of  his  eyes. 

For  villainy  is  not  without  such  rheum; 

And  he,  long  traded  in  it,  makes  it  seeni 

Like  rivers  of  remorse  and  innocency.     King  John  4:  j. 

Though  some  of  you,  with  Pilate,  wash  your  hands, 

Showmg  an  outward  pity ;  yet  you  Pilates 

Have  here  delivered  me  to  my  sour  cross 

And  water  cannot  wash  away  your  sin.    Rich.  II.  4:1. 

How  courtesy  would  seem  to  cover  sin ! 

When  what  is  done  is  like  an  hypocrite 

The  which  is  good  in  nothing  but  in  sight.  . 

'Tis  time  to  fear  when  tyrants  seem  to  kiss'.  '  Pericles  1:1  and  1:3. 

Pleads  he  in  earnest?  look  upon  his  face; 
H|s  eyes  do  drop  no  tears,  his  prayers  are  in  jest; 
H,s  words  come  from  his  mouth,  ours  from  our  breast: 
He  prays  but  faintly,  and  would  be  denied  • 
We  pray  with  heart,  and  soul,  and  all  beside- 
H.s  weary  joints  would  gladly  rise,  I  know; 
Our  knees  shall  kneel  till  to  the  ground  they  grow: 
His  prayers  are  full  of  false  hypocrisy; 
Ours  of  true  zeal  and  deep  integrity 
Our  prayers  do  rut  pray  his;  then,  let  them  have 
That^mercy  which  true  prayers  ought  to  have.    Rich.  II.  -5:3. 


SCRIPTURE  THEMES  IN  SHAKSPBARS 


I  a|" 


And  look  you,  get  a  prayer-book  in  your  hand, 

And  stand  between  two  churchmen,  good  my  lord ; 

For  on  that  ground  I'll  make  a  holy  descent: 

And  be  not  easily  won  to  our  requests ; 

Play  the  maid's  part,  still  answer  nay,  and  take  it.   Rich.  III.  3:  J, 

There  are  no  tricks  in  plain  and  simple  faith ; 
But  hollow  men,  like  horses  hot  at  hand, 
Make  gallant  show  and  promise  of  their  mettle. 
But  when  they  should  endure  the  bloody  spur. 
They  fall  their  crests,  and,  like  deceitful  jades. 
Sink  in  the  trial.     Jul.  Caesar  4: 2. 

O  perilous  mouths  1 
That  bear  in  them  one  and  the  selfsame  tongue 
Either  of  condemnatimi  or  reproof ; 
Bidding  the  law  make  courtesy  to  their  will ; 
Hooking  both  right  and  wrong  to  the  appetite. 
To  follow  as  it  draws  I     Meas.  for  Meas.  2: 4. 

O  place !  O  form ! 
How  often  dost  thou  with  thy  case,  thy  habit. 
Wrench  awe  from  fools,  and  tie  the  wiser  souls 
To  thy  false  seeming !    Blood,  thou  art  blood ! 
Let's  write  good  angel  on  the  devil's  horn, 
'Tis  not  ■  ;  devil's  crest.    Meas.  for  Meas.  2: 4. 

I  took  him  for  the  pi: .  lest  harmless't  creature 

That  breath'd  upon  the  earth  a  Christian; 

Made  him  my  book,  wherein  my  soul  recorded 

The  history  of  all  her  secret  thoughts: 

So  smooth  he  daub'd  his  vice  with  show  of  virtue : —  .  .  ^ 

He  liv'd  from  all  attainder  of  suspects.    Rich.  Ill,  j;  5. 

The  secret  mischiefs  that  I  set  abroach, 

I  lay  unto  the  gfrievous  charge  of  others 

But  then  I  sigh,  and,  with  a  piece  of  Scripture, 

Tell  them,  that  God  bids  us  do  good  for  evil : 

And  thus  I  clothe  my  naked  villainy 

With  odd  old  ends  stol'n  forth  of  holy  writ, 

And  seem  a  saint  when  most  I  play  the  devil.    Rich.  'III.  1:3. 


\M 


SCRIPTURE  THSMBS  IN  SHAKSPBARS 

Bnt,  Hfc  a  conitant  and  confimed  devil. 
He  entertain'd  a  show  w  seeming  just. 
Aiid  dierem  so  ensconc'd  hi.  secret  evil. 
That  jealousy  .tself  couid  not  mistrust. 
Fa^s^reegg  craft  and  perjury  should  thrust 

n^uZ     ^^u V*  ^^  ""*=''  black-facd  storms, 
Or  blot  with  hell-bom  sin  such  saint-like  forms. 

lucrece,  St.  gj^. 

I  am  a  simple  woman,  much  too  weak 

W.th  meekness  and  humility ;  but  your  heart 
V^.T"  K*f  *""°P"'^y,  spleen,  and  pride. 

S.    r  *KM^  °'*"."''  ''"'^  ^'  '"■^''"«*'  favors. 
Gone  sightly  o'er  low  steps,  and  now  are  mounted 
Where  powers  are  your  retainers;  and  your  word7 
Domesfcs  to  you.  serve  your  will,  as  't  plea« 
Yourself  pronounce  their  office.    I  must  tell  you. 
You  tender  more  your  person's  honor,  than 
rour  high  profession  spiritual.    Hen.  VIII.  2:^ 

O  prince.  I  conjure  thee,  as  thou  believ'st 
Ihere  is  another  comfort  than  this  world 
^t  thou  neglect  me  not.  with  that  opinion 

S^Jlr.Tf  "^  *'*  "'^""^^  "^'  "°t  impossible 
nT^   t  ^'.  "^^  """''*•    "r«  "ot  in-possible 
But  one.  the  wicked'st  caiHflF  on  the  ground. 

May  seem  as  shy.  as  grave,  as  just,  as  absolute, 

AS  Angelo;  even  so  may  Angelo, 

In  all  his  dressings,  characts,  titles,  forms. 

I^ht"l^7    '^u'"!"-    ^^''^'  '*'  "'y^'  prince. 
If  he  be  less,  he's  nothing;  but  he's  more. 

Had  I  more  name  for  badness.    Meas.  for  Meas  yi 


rtiS< 


i«4 


SCRIPTURE  THEMES  IN  SHAKSPBARB 


IGNORANCE— PRIDE 


II  Hen.  VI.  4: 7. 


Ignorance  is  the  curse  of  God, 

Knowledge  the  wing  wherewith  we  fly  to  heaven. 

We,  ignorant  of  ourselves. 

Beg  often  our  own  harms,  which  the  wise  powers 

Deny  us  for  our  good.    Ant.  and  Cleo.  i:  i. 

The  eagle-winged  pride 
Of  sky-aspiring  and  ambitious  thoughts 
With  rival-hating  envy.      Rich.  II.  1:3. 


...  I  can  see  his  pride 

Peep  through  each  part  of  him :  whence  has  he  that  ? 

If  not  from  hell,  the  devil  is  a  niggard : 

Or  has  given  all  before,  and  he  begins 

A  new  hell  in  himself.    Hen.  VIII.  i:  I. 

There  is  no  darkness  but  ignorance;  in  which  thou  art  more  puzzled 

than  the  Egyptians  in  their  fog. 
I  say,  this  house  is  dark  as  ignorance,  though  ignorance  were  as  dark 

as  hell.      Twelfth  Night  4: 2. 

The  common  curse  of  mankind,  folly  and  ignorance,  be  thine  in  gtjeat 
revenue !  heaven  bless  thee  from  a  tutor,  and  discipline  come  not 
near  thee !  .  .  . 

What,  art  thou  devout  ?  wast  thou  in  a  prayer  ?    Troi.  and  Cres.  2:  j. 

Why  should  a  man  be  proud ?  How  doth  pride  grow?  I  know  not 
what  pride  is.  .  .  .  He  that  is  proud  eats  up  himself ;  pride  is  his  own 
glass,  his  own  trumpet,  his  own  chronicle,  and  whatever  praises  itself 
but  in  the  deed,  devours  the  deed  in  the  praise.    Troi,  and  Cres.  2: 3. 


iia. 


SCRJPTURB  THSMBS  IN  SHAKSPBARS 


I6S 


INNOCENCE 

The  tniit  I  have  is  in  mine  innocence.   //  Hen.  VI.  4: 4. 

Unstained  thoughts  do  seldom  dream  on  evU.    Lucrece.  St.  /j. 

The  silence  often  of  pure  innocence 

Persuades,  when  speaking  fails.    Winter's  Tale  i.i. 

Angels  are  bright  still,  though  the  brightest  fell: 
Though  all  thmgs  foul  would  wear  the  brows  of  grace. 
Yet  grace  must  still  look  so.'     Mach.  4:3. 

...  A  thousand  innocent  shames 

In  angel  whiteness  bear  away  those  blushes; 

...  trust  not  my  age 
My  reverence,  calling,  nor  divinity. 
If  this  sweet  lady  lie  not  guiltless  here 
Under  some  biting  error.      Much  Ado  4:  i. 

^^7uT  ^^^^^^'d  l*mbs,  that  did  frisk  'i  the  sun 

And  bleat  the  one  at  the  other:  what  we  changed 

Was  innocence  for  innocence;  we  knew  not 

^e  doctrine  of  ill-doing,  nor  dream'd 

That  any  did:  had  we  pursued  that  life. 

And  our  weak  spirits  ne'er  been  higher 'rear'd 

p  ,!!l  »tj;o"g«|:,Wood  we  should  have  answer'd  Heaven 

Boldly,  "Not  Guilty."     Winter's  Tale  i:  i. 

p  .   , .         ^  ...  If  powers  divae 

iJehoId  our  human  actions,  as  they  do, 
I  doubt  not  then  but  innocence  shall  make 
False  accusations  blush,  and  tyranny 

Tremble  at  patience. For  life.  I  prfa  it. 

As  I  weigh  grief,  which  I  would  spare:  fiar  booor 

T^is  a  derivative  from  me  to  mine, 

And  one  that  I  stand  for.    I  appeal 

To  your  own  conscience.     Winters  Tale  3: :?. 

'That  is,  though  all  bad  things  should  counterfeit  the  loot,  «?  »,«*.        _ 
goodness  must  still  wear  its  own  looks.     Hudson's  Noti  '^*""'  ^ 


.!« 


SCRIPTURM  THBMBS  IN  SHAKSPBARS 


'4i& 


JESUS— CHRIST— SAVIOUR 

So  Judu  did  to  Chriit    Rich.  II.  4:  i. 

Jetu  maintain  your  royal  excellence.    //  Hen.  VI  t:  I. 

The  precious  image  of  our  dear  Redeemer.     Rich.  III.  a:  i. 

Through  all  the  kingdom*  that  acknowledge  Christ.   /  Hen.  IV.  3:  a. 

1  every  day  expect  an  embassage 

From  my  Redeemer  to  redeem  mc  hence,      Rich.  III.  a:  t. 

Some  say,  that  ever  'gainst  that  season  comes 
Wherein  our  Saviour's  birth  is  celebrated.    Ham.  i:  i. 

The  dread  King  that  took  our  state  upon  Him 

To  free  us  from  His  Father's  wrathful  curse.   //  Hen.  VI.  3:  a. 

Your  Master, 
Whose  minister  you  are,  whiles  here  he  lived 
Upon  this  naughty  earth.      Hen.  VIII.  5;  /. 

As  far  as  to  the  sepulchre  of  Christ, 

Whose  soldier  now,  under  whose  blessed  cross, 

We  are  impressed  and  engag'd  to  fight. 

....  In  those  holy  fields, 
Over  whose  acres  walk'd  those  blessed  feet, 
Which  fourteen  hundred  years  ago  were  nail'd 
For  our  advantage,  on  the  bitter  cross.    /  Hen.  IV.  i:  i. 

Many  a  time  hath  banish'd  Norfolk  fought 
For  Jesu  Christ  in  glorious  Christian  field. 
Streaming  the  ensign  of  the  Christian  cross. 

.  .  And  there,  at  Venice,  gave 
His  body  to  that  pleasant  country's  earth. 
And  his  pure  soul  unto  his  captain  Christ, 
Under  whose  colors  he  had  fought  so  long.      Rich.  II.  4:  r. 


SCftrPTURS  THEMES  ly  SHAKSPBARS 


JUDGMENT 

Heaven  forgive  my  ,i„,  at  the  day  of  Judgment.    Merry  Wives  3:3. 

Then,  dreadful  trumpet,  sound  the  general  doom.    Rom.  and  Jul.  3:,. 

No  reckoning  made,  but  sent  to  my  account 

.With  all  my  imperfections  on  my  head.     Ham.  i:  5. 

The  dreadful  judgment  day 
So  dreadful  will  not  be.  as  was  his  sight.    /  Hen.  VI.  /;/. 

»M.  ,    ,  God  grant  me  too, 

Thou  may  st  be  damned  for  that  wicked  deed  I    Rich.  HI.  i.,. 

Though  all  the  earth  overwhelm  them,  to  men's  eyes.    Ham.  /;* 

O  judgment,  thou  art  fled  to  brutish  beasts 

And  men  have  lost  their  reason.     Jul.  Caesar  3:  g. 

Which  if  we  should  deny,  the  most  just  God, 

For  every  graft  would  send  a  caterpillar.    Pericles  5;  /. 

Shake  off  this  downy  sleep,  death's  counterfeit 
And  look  on  death  itself!  Up.  up,  and  see  ' 
The  great  doom's  image.     Mach.  i:  3. 

How  would  you  be. 
It  He,  which  is  at  the  top  of  judgment,  should 
But  judge  you  as  you  are  ?     Meas.  for  Meas.  z:  z. 

O,  when  Ae  last  account  'twixt  heaven  and  earth 
li  to  be  made,  then  shall  this  hand  and  seal 
Witness  against  us  to  damnation.     King  John  4:  z. 

T»ke  heed  you  dally  not  before  your  king; 
Lest  He  that  is  the  supreme  King  of  kings 
Confound  your  hidden  falsehood,  and  award 
Either  of  you  to  be  the  other's  end.     Rich  III  2-  / 


1  SCRIPTURE  THBMSS  IN  SHAKSPBARS 

O  Thou  that  Judfest  all  things,  stay  my  thought! ; 

...  If  my  suspect  be  false,  forgive  me,  God ; 

Tor  judgment  only  doth  jelong  to  Thee.     //  Htn.  VI.  3: ». 

li  these  men  have  defeaten  the  law.  and  outrun  native  punishment, 
though  they  can  outstrip  men  they  have  no  wings  to  fly  from 
God.    (See  Responsibility.)    Htn.  V.  4:1. 

Why,  he  shall  never  wake  until  the  great  judgment  day,  .  .  . 
.  .  .  The  urging  of  that  word,  judgment,  hath  bred  a  kind  of 
remorse  in  me.   Rich.  III.  i:  4. 


From  that  supernal  judge  that  stirs  good  thoughts 

In  any  breast  of  strong  authority 

To  took  into  the  btoU  and  sUins  of  right. 

That  judge  hath  made  me  guardian  to  this  boy. 

Alter  not  the  doom 

Fore-thought  by  heaven.     King  John  2:  i  and  3:  i. 

O  let  the  vile  world  end  1 
And  the  premis'd  flames  of  the  last  day 
Knit  earth  and  heaven  together  I 
Now  let  the  general  trumpet  blow  his  blast, 
Particularities  and  petty  sounds 
To  cease  1     II  Hen.  VI.  3: 2. 

Why,  then  All-Souls'  day  is  my  body's  doomsday. 
This  is  the  day,  which,  in  king  Edward's  time, 
I  wish'd  might  fall  on  me,  when  I  was  found 
False  to  his  children,  or  his  wife's  allies : 
This  is  the  day,  wherein  I  wish'd  to  fall 
By  the  false  faith  of  him  whom  most  I  trusted: 
This,  this  All-Souls'  day  to  my  fearful  soul 
Is  the  determin'd  respite  of  my  wrongs. 
That  high  All-Seer,  which  I  dallied  with. 
Hath  tum'd  my  feign'd  prayer  on  my  head, 
And  given  in  earnest  what  I  begg'd  in  jest. 
Thus  doth  he  force  the  swords  of  wicked  men 
To  turn  their  own  points  in  their  masters'  bosoms. 

RUkin.  5:1. 


SCRIPTURB  THEMES  IN  SHAKSPEAKU 

...  if  the  assassination 
Could  trammel  up  the  consequence,  and  catch 
With  his  surcease  success;  that  but  this  blow 
Might  be  the  be-all  and  the  end-all  here, 
But  here,  upon  this  bank  and  shoal  of  time, 
We'd  jump  the  life  to  come—But  in  these  cases. 
We  stiU  have  judgment  here ;  that  we  but  teach 
Bloody  instructions,  which,  being  taught,  return 
To  plague  th'  inventor :  this  even-handed  justice 
Commends  th*  ingredients  of  our  poison'd  chalice 
To  our  own  lips.   He's  here  in  double  trust  : 
First,  as  I  am  his  kinsman  and  his  subject ; 
Strong  both  against  the  deed :  then,  as  his  host, 
Who  should  against  his  murderer  shut  the  door 
Not  bear  the  knife  myself.    Besides,  this  Dun^ 
Hath  borne  his  faculties  so  meek,  hath  been 
So  clear  in  his  great  office,  that  his  virtues 
Will  plead,  like  angels,  trumpet-ton^ed.  against 
The  deep  damnation  of  his  taking-oflF.     Afacb.  i:  j 


JUSTICE— INJUSTICE 

Justice  always  whirls  in  equal  measure.    Love's  Labor  4:3. 

Measure  for  measure  must  be  answered.     ///  Hen.  VI.  i:  6 

Like  doth  quit  like,  and  measure  still  for  measure. 

Meas.  for  Meas.s:  J. 

God,  not  we,  hath  plagued  thy  bloody  deed. 

So  just  is  God,  to  right  the  innocent.      Rich.  III.  /;  ^. 

My  comfort  is  that  heaven  will  take  our  souls 

And  plague  injustice  with  the  pains  of  hell.     Rich.  II.  j:  7. 

O  God  f  I  fear  thy  justice  will  take  hold 

On  me,  and  you,  and  mine,  and  yours,  for  this.      Rich.  III.  2: 7. 

Arm,  arm,  you  heavens,  against  these  perjur'd  kings 

A  widow  cries ;  be  husband  to  me,  heavens !    King  John  3:  7. 


MKROCOrr  nSOUITION  tist  chaot 

(ANSI  and  ISO  TEST  CHART  No.  2) 


^  <>1PPLIED  IIVHGE    I 

SK  '653  Eajl  Main  SImt 

S^S  Rochwter.  New  York        14609      USA 

^S  ("*)   *»2  -  0300  -  Phon, 


i^k 


i 


S}D  SCRIPTURE  THEMES  IN  SHAKSPEARB 

If  Angels  fight, 
iWeak  men  must  fall ;  for  Heaven  still  guards  the  right. 

Rich.  II.  3: 2. 

Condemn  the  fault  but  not  the  actor  of  it  ? 
iWhy,  every  fault's  condemn'd  ere  it  be  done. 

Meas.  for  Meas.  i:  z. 

Poise  the  cause  in  justice  equal  scales, 

tWhose  beam  stands  sure,  whose  rightful  cause  prevails. 

//  Hen.  VI.  2:  i. 


For  though  usurpers  sway  the  rule  awhile, 

Yet  Heavens  are  just,  and  time  suppresseth  wrongs. 

mHen.VI.3:3. 

Is  this  your  Christian  counsel  ?    Out  upon  ye ! 
Heaven  is  above  all  yet :  there  sits  a  judge 
That  no  king  can  corrupt.      Hen.  VIII.  3:  i. 

Falseness  cannot  come  from  thee,  for  thou  look'st 
Modest  as  Justice,  and  thou  seem'st  a  palace 
For  the  crown'd  Truth  to  dwell  in.    Pericles  5;  /. 

.  -.  .  This  shows  that  you  are  above. 
You  justicers,  that  these  our  nether  crimes 
So  speedily  can  venge  I      King  Lear  4: 2. 

.  .  .  And  yet  but  justice ;  for  though 

This  king  were  great,  his  greatness  was  no  guard 

To  bar  heaven's  shaft,  but  sin  had  his  reward.     Pericles  2: 4. 

I  do  beseech  your  lordships. 
That,  in  this  case  of  justice,  my  accusers, 
Be  what  they  will,  may  stand  forth  face  to  face. 
And  freely  urge  against  me.      Hen.  VIII.  5: 2. 

He  who  the  sword  of  Heaven  will  bear. 

Should  be  as  holy  as  severe ; 

Pattern  in  himself,  to  know, 

Grace  to  stand,  and  virtue  go.     Meas.  for  Meas.  3:2. 


SCRIPTURE  THEMES  IN  SHAKSPEARE 


171 


I  show  it  (pity)  most  of  all,  when  I  show  justice; 

For  then  I  pity  those  I  do  not  know ; 

Which  a  dismiss'd  offence  would  after  gall.     Meas.  f  >r  Meas.  z:  2. 

Thrice  is  he  arm'd  that  hath  his  quarrel  just; 
And  he  but  naked,  though  locked  up  in  steel,  ' 
Whose  conscience  with  injustice  is  corrupted.    //  Hen.  VI.  3:  z. 

Draw  those  Heaven-moving  pearls  from  his  poor  eyes 
Which  Heaven  shall  take  in  nature  of  a  fee ; 
Ay  with  these  crystal  beads  Heaven  shall  be  brib'd 
To  do  him  justice,  and  revenge  on  you.     King  John  2:  i. 

Be  just,  and  fear  not : 
Let  all  the  ends  thou  aimest  at  be  thy  country's 
Thy  God's  and  Truth's;  then,  if  thou  fall'st,  O  Cromwell 
Thou  fall'st  a  blessed  martyr.     Hen.  VIU.  j:  2.  ' 

Like  .1  traitor  coward. 
Sluic'd  out  his  innocent  soul  through  streams  of  blood- 
Which  blood,  like  sacrificing  Abel's  cries, 
Even  from  the  tongueless  caverns  of  the  earth. 
To  me  for  justice  and  rough  chastisement.    Rich.  U.  i:  i. 

May  he  continue  ....  and  do  justice 
For  truth's  sake,  and  his  conscience ;  that  his  bones. 
When  he  has  run  his  course,  and  sleeps  in  blessings. 
May  have  a  tomb  of  orphan's  tears  wept  on  'em ! 

n    .  ,     t.  ,  ^^»-  ^^'^-  3:^. 

00  ta,<e  hence  that  traitor  from  our  sight ; 

For,  by  his  death,  we  do  perceive  his  guilt : 

And  God  in  justice,  hath  reveal'd  to  us 

The  truth  and  innocence  of  this  poor  fellow 

Which  he  had  thought  to  have  murder'd  wrongfully. 

If  Hen.  VI.  2:  s. 

If  God  will  be  avenged  for  the  deed, 

O,  know  you,  yet  he  doth  it  publicly ; 

Take  not  the  quarrel  from  his  powerful  arm ; 

He  needs  no  indirect  or  lawless  course, 

To  cut  off  those  that  have  offended  him!    Rich.  III.  7;  4, 


I    .!l 


>  <l 


i 


173 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


I  know  not  whether  God  will  have  it  so. 
For  some  displeasing  service  I  have  done, 
That,  in  his  secret  doom,  out  of  my  blood 
He'll  breed  revengement  and  a  scourge  for  me ; 
But  thou  dost,  in  thy  passages  of  life. 
Make  me  believe,  that  thou  art  only  mark'd 
For  the  hot  vengeance  and  the  rod  of  heaven, 
To  punish  my  mistreadings.     /  Hen.  IV.  3: 2. 

Gaunt.  God's  is  the  quarrel;  for  God's  substitute^ 
His  deputy  anointed  in  His  sight. 
Hath  caus'd  his  death ;  the  which,  if  wrongfully. 
Let  Heaven  revenge ;  for  I  may  never  lift 
An  angry  arm  against  His  minister. 

Duch.  Where  then,  alas!  may  I  complain  myself? 

Cau.  To  God,  the  widow's  champion  and  defence. 

Rich.  II.  1:2. 

Y   In  the  corrupted  currents  of  this  world, 
Offence's  gilded  hand  may  shove  by  justice ; 
And  oft  'tis  seen,  the  wicked  prize  itself 
Buys  out  the  law ;  but  'tis  not  so  above ; 
There  is  no  shuffling,  there  the  action  lies 
In  his  true  nature ;  and  we  ourselves  compell'd. 
Even  to  the  teeth  and  forehead  of  our  faults, 
To  give  in  evidence.    Ham.  $: 3.      (See  Remorse.)' 

Not  ever 
The  justice  and  the  truth  o'  the  question  carries 
The  due  o'  the  verdict  with  it.    At  what  ease 
Might  corrupt  minds  procure  knaves  as  corrupt 
To  swear  against  you  ?    such  things  have  been  done. 
You  are  potently  oppos'd ;  with  a  malice 
Of  as  great  size.    Ween  you  of  better  luck, 
I  mean  in  perjur'd  witness,  than  your  Master, 
Whose  minister  you  are,  whiles  here  He  liv'd 
Upon  this  naughty  earth?    Hen.  VIII.  5:  /. 

'Hudson  states  that  the  word  here  given  "God's"  is  so  printed  in  the  quartos, 
but  in  the  fnlins  \va»  printed  "Heaven's"  doubtless  on  account  of  the  statute 
against  the  irreverent  use  of  the  sacred  name.  The  same  change  is  made  in  other 
places. 


.iMli 


SCRIPTURE  THUMBS  IN  SHAKSPEARB  173 

.  .  .  give  your  cause  to  Heaven. 
...  If  you  can  pace  your  wisdom 
In  that  good  path  that  I  wish  it  to  go ; 
And  you  shall  have  your  bosom  on  this  wretch, 
Grace  of  the  Duke,  revenges  to  your  heart. 
And  general  honor.     Meas.  for  Meas.  4:  j. 

A  man  may  see  how  this  world  goes  with  no  eyes.  Look  with  thine 
ears;  see  how  yond'  justice  rails  upon  yond'  simple  thief.  Hark,  in 
thine  ear :  change  places ;  and,  handy-dandy,  which  is  the  justice,  which 
is  the  thief? — Thou  hast  seen  a  farmer's  dog  bark  at  a  beggar?  .... 
And  the  creature  run  from  the  cur?  There  thou  mightst  behold  the 
great  image  of  authority :  a  dog's  obey'd  in  office. — 

Thou  rascal  beadle,  hold  thy  bloody  hand ! 

Why  dost  thou  lash  that  whore  ?    Strip  thine  own  back ; 

Thou  hotly  lust'st  to  use  her  in  that  kind 

For  which  thou  whipp'st  her.    The  usurer  hangs  the  cozener. 

Through  tatter'd  clothes  small  vices  do  appear ; 

Robes,  and  furr'd  gowns,  hide  all.    Plate  sin  with  gold. 

And  the  strong  lance  of  justice  hurtless  breaks : 

Arm  it  in  rags,  a  pigmy's  straw  doth  pierce  it.    King  Lear  4: 6. 


KNOWLEDGE 


Knowledge  the  wing  wherewith  we  flv  to  heaven. 

IIHen.IV.4:7. 

There  are  more  things  in  heaven  and  earth. 

Than  are  dreamt  of  in  your  philosophy.      Ham.  i:  5. 

What  is  the  end  of  study  ?  let  me  know. 

Why  that  to  know,  which  else  we  should  not  know. 

Things  hid  and  barr'd,  you  mean,  from  common  sense  ? 

Ay,  that  i.-  study's  god-like  recompense 

Study  knows  that  which  yet  it  doth  not  know.  .  .  . 

Study  is  like  the  heaven's  glorious  sun, 

That  will  not  be  deep-search'd  with  saucy  looks.  .  .  . 

Too  much  to  know  is  to  know  nought  but  fame.    (See  Light.) 

Love's  Labor  t:  I. 


S74 


SCRIPTURE  THEMES  IN  SHAKSPEARE 


We  have  our  philosophical  persons,  to  make  modem  and  familiar 
things  supernatural  and  causeless.  Hence  it  is  that  we  make  trifles  of 
terrors;  ensconcing  ourselves  into  seeming  knowledge.  All's  Well  2:3, 


LIFE— TIME 

Thy  life's  a  miracle.    King  uear  4: 6. 

We  trifle  time  away.    Hen.  VIII.  5: 2. 

Like  madness  is  the  glory  of  this  life.    Txmon  I'.z- 

O,  call  back  yesterday,  bid  time  return.    Rich.  II.  3: 2. 

(Time)  thou  ceaseless  lackey  to  eternity.    Lacrece,  St.  139. 

Let  life  be  short ;  else  shame  will  be  too  long.    Hen.  V.  4: 5. 

Time  travels  in  divers  paces  with  divers  persons. 

As  You  Like  It  3: 2. 

Old  Time  the  clock-setter,  that  bald  sexton.  Time. 

King  John  3: 1. 

The  web  of  our  life  is  of  a  mingled  yam,  good  and  ill  together. 

All's  Well  4: 3. 

Out,  out,  brief  candle ! 
Life's  but  a  walking  shadow.    Macb.  5: 5. 

Time,  that  takes  survey  of  all  the  world. 
Must  have  a  stop.    /  Hen.  IV.  5: 4. 

Time  is  the  old  justice  that  examines  all  such  offenders,  and 
Let  Time  try.    As  You  Like  It  4:  i. 

The  time  of  life  is  short; 
To  spend  that  shortness  basely  were  too  long. 
If  life  did  ride  upon  a  dial's  point. 
Still  ending  at  the  arrival  of  an  hour.   /  Hen.  IV.  5:  z. 


i«) 


m 

Hi 


SCRIPTURE  THEMES  IN  SHAKSPEARS 

Time,  force,  and  death, 
Do  to  this  body  what  extremity  you  can.    Trot,  and  Cres.  4: 2. 

Why  day  is  day,  night,  night,  and  time  is  time. 

Were  nothing  but  to  waste  night,  day,  and  time.    Ham.  2:2. 


Come  what,  come  may, 
Time  and  the  hour  runs  through  the  roughest  day.    Macb.  1:3. 

I  do  not  set  my  life  at  a  pin's  fee 

And,  for  my  soul,  what  can  it  do  to  that. 

Being  a  thing  immortal  as  itself?    Ham.  1:4.  * 

This  day  I  breath'd  first:  time  is  come  round; 
And  where  I  did  begin  there  shall  I  end ; 
My  life  is  run  his  compass.    Jul.  Caesar  5;  j. 

And  so,  from  hour  to  hour,  we  ripe  and  ripe. 
And  then,  from  hour  to  hour,  we  rot  and  rot. 
And  thereby  hangs  a  tale.    As  You  Like  It  2: 7. 

The  end  crowns  all ; 
And  that  old  common  arbiter.  Time, 
Will  one  day  end  it.    Trox.  and  Cres.  4: 5. 

But  thought  the  slave  of  life,  and  life  time's  fool: 
And  time,  that  takes  survey  of  all  the  world, 
Must  have  a  stop.    /  Hen.  IV.  5: 4. 

Time's  the  King  of  men 
For  he's  their  parent,  and  he's  their  grave, 
And  gives  them  what  he  will,  not  what  they  crave.    Pericles  2: 3. 

And  this  our  life,  exempt  from  public  haunt. 

Finds  tongues  in  trees,  books  in  the  running  brooks, 

Sermons  in  stones,  and  good  in  everything.    As  You  Like  It  2:  i. 

.  .  .  how  brief  the  life  of  man 

Runs  his  erring  pilgrimage ; 

That  the  stretching  of  a  span 

Buckles  in  his  sum  of  age.    As  You  Like  It  3: 2. 


m 


i! 


'I 


:i*i: 


176 


SCRIPTURE  THEMES  IN  SHAKSPSARS 


ii 


O,  this  life 
Is  nobler,  than  attending  for  a  check ; 
Richer,  than  doing  nothing  for  a  bribe.*    Cymb.  j :  j. 

May  he  live 
Longer  than  I  have  time  to  tell  his  years ! 
Ever  beloved,  and  loving,  may  his  rule  be !  " 
And,  when  old  time  shall  lead  him  to  his  end, 
Goodness  and  he  fill  up  one  monument !   Hen.  VIII.  i:  t. 

See  the  minutes  how  they  run : 
How  many  make  the  hour  full  complete. 
How  many  hours  bring  about  the  day, 
How  many  days  will  finish  up  the  year. 
How  many  years  a  mortal  man  may  live.    ///  Hen.  VI.  2:$. 

I  cannot  tell  what  you  and  other  men 

Think  of  this  life ;  but,  for  my  single  self, 

I  had  as  lief  not  be  as  live  to  be 

In  awe  of  such  a  thing  as  myself.     Jul.  Caesar  i:  z. 

Let's  take  this  instant  by  the  forward  top ; 
For  we  are  old,  and  on  our  quickest  decrees 
The  inaudible  and  noiseless  foot  of  time 
Steals,  ere  we  can  effect  them.   All's  Well  5: 3. 

Had  I  but  died  an  hour  before  this  chance, 
I  had  liv'd  a  blessed  time,  for  from  this  instant 
There's  nothing  serious  in  mortality ; 
All  is  but  toys :  renown  and  grace  are  dead ; 
The  wine  of  life  is  drawn,  and  the  mere  lees  is  left  this  vault  to 
brag  of.    Macb.  2:  j. 

I  have  liv'd  long  enough :  my  way  of  life 

Is  fall'n  into  the  sear,  the  yellow  leaf; 

And  that  which  should  accompany  old  age. 

As  honor,  love,  obedience,  troops  of  friends, 

I  must  not  look  to  have ;  but,  in  their  stead. 

Curses,  not  loud,  but  deep,  mouth-honor,  breath, 

Which  the  poor  heart  would  fain  deny,  and  dare  not   Macb.  5:3. 

'  Steevens  and  others  substitute  the  word  "babe"  for  bribe. 


SCRIPTURE  THEMES  m  SHAKSPEARE  i„ 

Thy  glass  will  show  thee  how  thy  beauties  wear, 
Thy  dial  how  thy  precious  minutes  waste; 
The  vacant  leaves  thy  mind's  imprint  will  bear, 
And  of  this  book  this  learning  may'st  thou  taste: 
The  wrinkles  which  thy  glass  will  truly  show. 
Of  mouthed  graves  will  give  thee  memory; 
Thou  by  thy  dial's  shady  stealth  may'st  know 
Tmie  s  thievish  progress  to  eternity,     .bonnet  77. 

Time's  glory  is  to  calm  contending  kings, 

To  unmask  falsehood,  and  bring  truth  to  light. 

To  stamp  the  seal  of  time  in  aged  things. 

To  wake  the  mom,  and  sentinel  the  night, 

To  wrong  the  wronger  till  he  render  right; 
To  ruinate  proud  buildings  with  thy  hours. 
And  smear  with  dust  their  glittering  golden  towers 

To  cheer  the  ploughman  with  increaseful  crops. 

And  waste  huge  stones  with  little  water-drops. '  Lucrece,  Si.  13$.  7, 

Farewell,  a  long  farewell,  to  all  my  greatness ! 

This  is  the  state  of  man :  to-day  he  puts  forth 

The  tender  leaves  of  hopes,  to-morrow  blossoms. 

And  bears  his  blushing  honors  thick  upon  him : 

The  third  day  comes  a  frost,  a  killing  frost ;  * 

And,— when  he  thinks,  good  easy  man,  full  surely 

His  greatness  is  a  ripening,— nips  his  root, 

And  then  he  falls,  as  I  do.    I  have  ventur'd, 

Like  little  wanton  boys  that  swim  on  bladders. 

This  many  summers  in  a  sea  of  glory. 

But  far  beyond  my  depth:  my  high  blown  pride 

At  length  broke  under  me;  and  now  has  left  me, 
Weary  and  old  with  service,  to  the  mercy 
Of  a  rude  stream,  that  must  forever  hide  me. 
Vain  pomp  and  glory  of  this  world,  I  hate  ye : 
I  feel  my  heart  new  open'd.    O !  how  wretched 
Is  that  poor  man  that  hangs  on  princes'  favors  I 
There  is,  betwixt  that  smile  we  would  aspire  to. 
That  sweet  aspect  of  princes,  and  their  ruin, 
More  pangs  and  fears  than  wars  or  women  have; 
And  when  he  falls,  he  falls  like  Lucifer, 
Never  to  hope  again.     Hen.  VIII.  3: 2. 
12 


I 


rii 


tjt  SCRIPTURE  THEMES  IN  SHAKSPBARB 

Devouring  Time,  blunt  thou  the  lion's  paws, 
And  make  the  earth  devour  her  own  sweet  brood  ■ 
Pluck  the  keen  teeth  from  the  fierce  tiger's  jaws, 
And  bum  the  long-liv'd  phoenix  in  her  blood : 
M"*'*  ^laH  and  sorry  seasons  as  thou  fleets, 
'And  do  whate'er  thou  wilt,  swift-footed  Time, 
To  the  wide  world,  and  all  her  fading  sweets ; 
But  I  forbid  thee  one  most  heinous  crime :  .  . 
Yet,  do  thy  worst,  old  Time :  despite  thy  wrong. 
My  love  shall  in  my  verse  ever  live  young.    Sonnet  /p. 

When  I  have  seen  by  Time's  fell  hand  defaced 
The  rich  proud  cost  of  out-worn  buried  age ; 
When  sometime  lofty  towers  I  see  down-rased. 
And  brass  eternal,  slave  to  mortal  rage : 
When  I  have  seen  the  hungry  ocean  gain 
Advantage  on  the  kingdom  of  the  shore, 
And  the  firm  soil  win  of  the  watery  main, 
Increasing  store  with  loss,  and  loss  with  store : 
When  I  have  seen  such  interchange  of  state. 
Or  state  itself  confounded  to  decay. 
Ruin  hath  taught  me  thus  to  ruminate — 
That  time  will  come  and  take  my  love  away. 
This  thought  is  as  a  death,  which  cannot  choose 
But  weep  to  have  that  which  it  fears  to  lose.    Sonnet  64. 

No!  Time,  thou  shalt  not  boast  that  I  do  change: 
Thy  pyramids,  built  up  with  newer  might, 
To  me  are  nothing  novel,  nothing  strange ; 
They  are  but  dressings  of  a  former  sight. 
Our  dates  are  brief,  and  therefore  we  admire 
What  thou  dost  foist  upon  us  that  is  old. 
And  rather  make  them  bom  to  our  desire. 
Than  think  that  we  before  have  heard  them  told. 
Thy  registers  and  thee  I  both  defy. 
Not  wondering  at  the  present,  nor  the  past ; 
For  thy  records  and  what  we  see  do  He, 
Made  more  or  less  by  thy  continual  haste. 

This  I  do  vow,  and  this  shall  ever  be, 

I  will  be  true,  despite  thy  scythe  and  thee.    Sonnet  123. 


!)  ', 


SCRIPTURE  THEMBS  IN  SHAkSPBARB 

Since  brau,  nor  itone,  nor  earth,  nor  boundless  sea, 
But  sad  morultty  o'er-sways  their  power. 
How  with  this  rage  shall  beauty  hold  a  plea. 
Whose  action  is  no  stronger  than  a  flower  ? 
O !  how  shall  summer's  honey-breath  hold  out 
Against  the  wreck  ful  siege  of  battering  days, 
When  rocks  impregnable  ar.-  not  so  stout, 
Nor  gates  of  steel  so  strong,  but  time  decays? 
O  fearful  meditation!  whet e,  alack, 
Shall  time's  best  jewel  from  time's  chest  lie  hid  ? 
Or  what  strong  hand  can  hold  his  swift  foot  back? 
Or  who  hid  spoil  of  beauty  can  forbid  ?    Sonnet  6$. 

Reason  thus  with  life: 
If  do  lose  thee,  I  do  lose  a  thing 
That  none  but  fools  would  keep:  a  breath  thou  art.  .  . 

thou  art  death's  fool ; 

For  him  thou  labor'st  by  thy  flight  to  shun. 

And  yet  run'st  toward  him  still:  thou  art  not  noble; 

For  all  th'  accommodations  that  thou  bear'st. 

Are  nurs'd  by  baseness:  thou  art  by  no  means  valiant; 

For  thou  dost  fear  the  soft  and  tender  fork 

Of  a  poor  worm :  thy  best  of  rest  is  sleep, 

And  that  thou  oft  provok'st,  yet  grossly  fear'st 

Thy  death,  which  is  no  more.    Thou  art  not  thyself; 

For  thou  exist'st  on  many  a  thousand  grains 

That  issue  out  of  dust :  happy  thou  art  not ; 

For  what  thou  hast  not,  still  thou  striv'st  to  get, 

And  what  thou  hast  forgel'st.    Thou  art  not  certain; 

For  thy  complexion  shifts  to  strange  effects. 

After  the  moon:  if  thou  art  rich,  thou  'rt  poor; 

For,  like  an  ass,  whose  back  with  ingots  bows. 

Thou  bear'st  thy  heavy  riches  but  a  journey. 

And  death  unloads  thee:  friend  hast  thou  none; 

For  thine  own  bowels,  which  do  call  thee  sire. 

The  mere  effusion  of  thy  proper  loins, 

Do  curse  the  gout,  serpigo,*  and  the  rheum, 

For  ending  thee  no  sooner:  thou  hast  nor  youth,  nor  age. 

But,  as  it  were,  an  after-dinner's  sleep, 

'A  tetter,  or  rash  on  the  skin. 


>9» 


I 


tSo  SCRIPTURE  THEMES  IN  SHAKSPEARB 

Dreaming  on  both ;  for  all  thy  bletMd  youth 
Becomes  a*  aged,  and  doth  beg  the  alms 
Of  palsied  eld :  and  when  thou  art  old  and  rich. 
Thou  hast  neither  heat,  affection,  limb,  nor  beauty, 
To  make  thy  riches  pleasant.    What's  yet  in  this, 
That  bears  the  name  of  life?    Yet  in  this  life 
Lie  hid  more  thousand  deaths,  yet  death  we  fear, 
That  makes  these  odds  all  even.    Meas.  for  Meas.  3: 


LIGHT  AND  DARKNESS 

Light  and  lust  are  deadly  enemies.    (See  Lust.)    Lucreee,  St.  ff^. 

How  far  that  little  candle  throws  his  beams 

So  shines  a  good  deed  in  a  naughty  world.    Mer.  of  Ven.  5;  /. 

To  seek  the  light  of  truth,  while  truth  the  while 
Doth  falsely  blind  the  eyesight  of  his  look : 
Light,  seeking  light,  doth  light  of  light  beguile. 
(See  Knowledge.)      Love's  Labor  1:1. 

Heaven  does  with  us  as  we  with  torches  do. 
Not  light  them  for  ourselves ;  for  if  our  virtues 
Did  not  go  forth  with  us'  t'were  all  alike 
As  if  we  had  them  not.    Meas.  for  Meas.  i:  i. 


When  the  searching  eye  of  heaven  is  hid 
Behind  the  globe,  and  lights  the  lower  world. 
Then  thieves  and  robbers  range  abroad  unseen, 
In  murders,  and  in  outrage,  blocJy  here; 
But  when,  from  under  this  terrestrial  ball. 
He  fires  the  proud  tops  of  the  eastern  pines, 
And  darts  his  light  through  every  guilty  hole. 
Then  murders,  treasons,  and  detested  sins, 
The  cloak  of  night  being  pluck'd  from  oflF  their  backs. 
Stand  bare  and  naked,  trembling  at  themselves.     Rich.  IL 


3:i. 


U- 


SCRIPTURE   THEStnS  IN  SHAKSFEARB 


III 


LOVE    (Sw  Marriagx) 
Love  reaaons  without  reaion.    Cymb.  4:  a. 

Love  ii  not  love 
Which  alteri  when  it  alteration  findi.    Sonnet  116. 

For  charity  itself  fulfills  the  law : 

And  who  can  sever  love  from  charity  ?    Lov^s  Labor  4: 3. 

.  .  .  how  can  that  be  true  love,  which  is  falsely  attempted?  Love  is 
a  familiar!  love  is  a  devil:  there  is  no  evil  angel  but  love.  Yet  was 
Solomon  so  seduced ;  he  had  a  very  good  wit.    Love's  Labor  i:  2. 

I  confess, 
Here  on  my  knee,  before  high  hea\  en  and  you. 
That  before  you,  and  next  unto  high  heaven, 
I  love  your  son. — 

My  friends  were  poor,  but  honest ;  so's  my  love: 
Be  not  offended,  for  it  hurts  not  him, 
That  he  is  lov'd  of  me.    I  follow  him  not 
By  any  token  of  presumptuous  suit ; 
Nor  would  I  have  him,  till  I  do  deserve  him. 
Yet  never  know  how  that  desert  should  be. 
I  know  I  love  in  vain,  strive  against  hope ; 
Yet,  in  this  captious  and  intenible  sieve, 
I  still  pour  in  the  waters  of  my  love. 
And  lack  not  to  lose  still.    Thus  Indian-like, 
Religious  in  mine  error,  I  adore 
The  sun,  that  looks  upon  his  worshiper. 
But  knows  of  bun  no  more.    All's  Well  1:3. 


i8> 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


LUST 

Light  and  lust  are  deadly  enemies.  .  .  . 

Pure  chastity  is  rifled  of  her  store. 

And  Lust,  the  thief,  far  poorer  than  before.    Lucrece,  St.  97, 99. 

Fie  on  sinful  fantasy  I 

Fie  on  lust  and  luxury ! 

Lust  is  but  a  bloody  fire, 

Kindled  with  unchaste  desire, 

Fed  in  heart ;  whose  flames  aspire, 

As  thoughts  do  blow  them,  higher  and  higher. 

Song  in  Merry  Wives  5: 5. 

So  from  himself  impiety  hath  wrought, 
That  for  his  prey  to  pray  he  doth  begin. 
As  if  the  heavens  should  countenance  his  sin. 

But  in  the  midst  of  his  unfruitful  prayer, 

Having  solicited  th'  eternal  power, 

That  his  foul  thoughts  might  compass  his  fair  fair, 

And  they  would  stand  auspicious  to  the  hour. 

Even  there  he  starts :  —  quoth  he,  I  must  deflower : 

The  powers  to  whom  I  pray  abhor  this  fact. 

How  can  they,  then,  assist  me  in  the  act?    Lucrece,  St.  49,  50. 

Th'  expense  of  spirit  in  a  waste  of  shame 

Is  lust  in  action ;  and  till  action,  lust 

Is  perjur'd,  murderous,  bloody,  full  of  blame, 

Savage,  extreme,  rude,  cruel,  not  to  trust ; 

Enjoy'd  no  sooner  but  despised  straight ; 

Past  reason  hunted,  and  no  sooner  had. 

Past  reason  hated,  as  a  swallow'd  bait. 

On  purpose  laid  to  make  the  taker  mad : 

Mad  in  pursuit,  and  in  possession  so ; 

Had,  having,  and  in  quest  to  have  extreme ; 

A  bliss  in  proof, — and  proved,  a  very  woe ; 

Before,  a  joy  propos'd ;  behind,  a  dream : 

All  this  the  world  wcl!  knows,  yet  none  knows  well 

To  shun  the  heaven  that  leads  to  this  hell.    Sonnet  129. 


SCRIPTURE  THEMES  IN  SHAKSPEARE  ifltj 

Such  an  act,  ^"^ 

That  blurs  the  grace  and  blush  of  modesty; 
Calls  virtue,  hypocrite ;  takes  off  the  rose 
From  the  fair  forehead  of  an  innocent  love, 
And  sets  a  blister  there ;  makes  marriage  vows 
As  false  as  dicers'  oaths :  O !  such  a  deed, 
As  from  the  body  of  contraction  plucks 
The  very  soul ;  and  sweet  religion  makes 
A  rhapsody  of  words :    Heaven's  face  doth  glow. 
Yea,  this  solidity  and  compound  rnass, 
With  tristful  visage,  as  against  the  doom. 

Is  thought-sick  at  the  act 

O  shame !  where  is  thy  blush  ?    Rebellious  hell. 
If  thou  canst  mutine  in  a  matron's  bones. 
To  flaming  youth  let  virtue  be  as  wax. 
And  melt  in  her  own  fire.    Ham.  j:  4. 

.  .  .  —his  words — do  no  more  adhere  than  the  hundredth  psalm  of 
the  tune  of  Green  Sleeves.  ...  I  think  the  best  way  were  to  entertain 
him  with  hope  till  the  wicked  fire  of  lust  have  meUed  him  in  his  own 
grease 

Why  Sir  John,  do  you  think,  though  we  would  have  thrust  virtue 
out  of  our  hearts  by  the  head  and  shoulders,  and  have  given  ourselves 
without  scruple  to  hell  that  ever  the  devil  could  have  made  you  our 
delight?    Merry  Wives  2:  i  and  5: 5. 


MAN 

I  think  the  king  is  but  a  man,  as  I  am.    Hen.  V.  4:  i. 

He  speaks  not  like  a  man  of  God's  making.    Love's  Labor  5.*  ^. 

Immortality  attends  the  founer,  making  a  man  a  god. 
(See  Virtue. )      Pericles  3 :  z. 

God  made  him  and  therefore  let  him  pass  for  a  man. 

Mcr.  of  Ven.  1:2. 

To  see  how  God  in  all  his  creature's  works ! 

Yea,  man  and  birds  are  fain  of  climbing  high.    //  Hen.  VL  2:  i. 


m 


II:  n 


imm  ,':> 


184  SCRIPTURE  THEMES  IN  SHAKSPEARB 

But  we  all  are  men, 
In  our  own  natures  frail,  and  capable 
Of  our  flesh ;  few  are  angels.    Hen.  VIII.  5: 2. 

Are  we  not  brothers? 

So  man  and  man  should  be ; 
But  clay  and  clay  differs  in  dignity. 
Whose  dust  is  both  alike.    C'^mh.  4: 2. 

Man,  proud  man ! 
Drest  in  a  little  brief  authority ; 
Most  ignorant  of  what  he's  most  assur'd, 
His  glassy  essence, — like  an  angry  ape, 
Plays  such  fantastic  tricks  before  high  Heaven, 
As  make  the  angels  weep.    Mcas.  for  Meas.  2: 2. 

There's  nothing  situate  under  heaven's  eye 

But  hath  his  bound,  in  earth,  in  sea,  in  sky : 

The  beasts,  the  fishes,  and  the  winged  fowls,  .  .  . 

Men,  more  divine,  the  masters  of  all  these. 

Lords  of  the  wide  world,  and  wild  watery  seas. 

Indued  with  intellectual  sense  and  souls.    Com.  of  Err.  '2:1, 

Whatjs  a  man,^ 
*\  ..  ^      If  his  chief  good  and  market  of  his  time, 
'  Be  but  to  sleep,  and  feed  ?  a  beast,  no  more. 

Sure,  he,  that  made  us  with  such  large  discourse. 
Looking  before  and  after,  gave  us  not 
That  capability  and  godlike  reason. 
To  fust  in  us  unus'd.    Ham.  4: 4. 

One  touch  of  nature  makes  the  whole  world  kin, — 
That  all,  with  one  consent,  praise  new-bom  gawds. 
Though  they  are  made  and  moulded  of  things  past, 
And  give  to  dust,  that  is  a  little  gilt. 
More  laud  than  gilt  o'er-dusted. 
The  present  eye  praises  the  present  object : 
Then,  marvel  not,  thou  great  and  complete  man. 
That  all  the  Greeks  begin  to  worship  Ajax, 
Since  things  in  motion  quicklier  catch  the  eye, 
Than  what  not  stirs.    Troi.  and  Cres.  3:$. 


|i 


SCRIPTURE  THEMES  IN  SHAKSPEARE  i8s 

Thou  seest,  we  are  not  all  alone  unhappy: 
This  wide  and  universal  theatre 
Presents  more  woeful  pageants  than  the  scene 
iWherein  we  play  in.    All  the  world's  a  stage. 
And  all  the  men  and  women  merely  players : 
They  have  their  exits  and  their  entrances 
And  one  man  in  his  time  plays  many  parts 
His  acts  being  seven  ages.    As  You  Like  It  2: 7. 

Farewell,  a  long  farewell,  to  all  my  greatness ! 
This  is  the  state  of  man :    To-day  he  puts  forth 
The  tender  leaves  of  hopes,  to-morrow  blossoms. 
And  bears  his  blushing  honors  thick  upon  him : 
The  third  day  comes  a  frost,  a  killing  frost ; 
And,— When  he  thinks,  good  easy  man,  full  surely 
This  greatness  is  ripening,— nips  his  root,  and  then  he  falls,  as 
I  do.    Hen.  VIII.  3: 2. 

Why  may  not  imagination  trace  the  noble  dust  of  Alexander,  till  he 
find  it  stopping  a  bung-hole?  .... 

...  as  thus:  Alexander  died,  Alexander  was  buried,  Alexander 
returned  into  dust;  the  dust  is  earth;  of  earth  we  make  loam,  and  why 
of  that  loam,  whereto  he  was  converted,  might  they  not  stop  a  beer- 
barrel? 

"  Imperial  Caesar  dead,  and  turn  to  clay, 
Might  stop  a  hole  to  keep  the  wind  away: 
O !  that  that  earth,  which  kept  the  world  in  awe, 
Should  patch  a  wall  t'  expel  the  winter's  flaw !"    Ham.  5:  i. 

What  a  piece  of  work  is  a  man !  How  noble  in  reason !  how  infinite 
in  faculty  1  m  form  and  moving,  how  express  and  admirable!  in  action, 
how  hke  an  angel!  in  apprehension,  how  like  a  god!  the  beauty  of  the 
world!  the  paragon  of  animals!  And  yet,  to  me,  what  is  the  quintes- 
sence of  dust  ?  man  delights  not  me ;  no,  nor  woman  neither.   Ham.  2: 2. 

O!  there  be  players,  that  I  have  seen  play.-and  heard  others  praise, 
and  that  highly.— not  to  speak  it  profanely,  that,  neither  having  the 
"^T.^"  Christians,  nor  the  gait  of  Christian,  pagan,  nor  man.  have  so 
strutted,  and  bellowed,  that  I  have  thought  some  of  nature's  journeymen 
had  made  men.  and  not  made  them  well,  they  imitated  humanity  so 
abommably.    Ham.  3:2.  ' 


' 


!i 


t- 


SCRIPTURE  THEMES  IN  SHAKSPEARS 

MANS  RESPONSIBILITY 

Our  remedies  oft  in  ourselves  do  lie, 
Which  we  ascribe  to  Heaven :  the  fated  sky 
Gives  us  free  scope.    All's  IV ell  i:  i. 

Men  at  some  time  are  masters  of  their  fates : 
The  fault,  dear  Brutus,  is  not  in  our  stars, 
But  in  ourselves.    Jul.  Caesar  i:  z. 


Faith,  I  have  been  a  truant  in  the  law ; 
And  never  yet  could  frame  my  will  to  it ; 
And,  therefore,  frame  the  law  unto  my  will. 


/  Hen.  VI.  s:  4. 


i 


This  is  the  excellent  foppery  of  the  world !  that,  when  we  are  sick  in 
fortune,  (often  the  surfeit  of  our  own  behavior)  we  make  guilty  of  our 
disasters  the  sun,  the  moon,  and  stars :  as  if  we  were  villains  on  neces- 
sity; fools  by  heavenly  compulsion;  knaves,  thieves,  and  treachers*  by 
spherical  predominance ;  drunkards,  liars,  and  adulterers,  by  an  enforced 
obedience  of  planetary  influence ;  and  all  that  we  are  evil  in,  by  a  divine 
thrusting  on.    King  Lear  1:2. 

So,  if  a  son,  that  is  by  his  father  sent  about  merchandise,  do  sinfully 
miscarry  upon  the  sea,  the  imputation  of  his  wickedness,  by  your  rule, 
should  be  imposed  upon  his  father  that  sent  him :  or  if  a  servant,  under 
his  master's  command,  transporting  a  sum  of  money,  be  assailed  by  rob- 
bers, and  die  in  many  irreconciled  iniquities,  you  may  call  the  business 
of  the  master  the  author  of  the  servant's  damnation.  But  this  is  not  so : 
the  king  is  not  bound  to  answer  the  particular  endings  of  his  soldiers, 
the  father  of  his  son,  nor  the  master  of  his  servant ;  for  they  purpose 
not  their  '-ath,  when  they  purpose  their  services.  Besides,  there  is  no 
king,  cause  never  so  spotless,  if  it  come  to  the  arbitrement  of 

swords,  can  try  it  out  with  all  unspotted  soldiers.  Some,  peradyenture, 
have  on  them  the  guilt  of  premeditated  and  contrived  murder;  some, 
of  beguiling  virgins  with  the  broken  seals  of  perjury ;  some,  making  the 
wars  their  bulwark,  that  have  before  gored  the  gentle  bosom  of  peace 
with  pillage  and  robbery.  Now,  if  these  men  have  defeated  the  law,  and 
outrun  native  punishment,  though  they  can  outstrip  men,  they  have  no 
wings  to  fly  from  God :  war  is  his  beadle :  war  is  his  vengeance :  so  that 

""Treacher,"— a  trickster,  a  cheat. 


^Hiilaj 


SCRIPTURE  THEMES  IN  SHAKSPEARE 


i8!r 


here  men  are  punished,  for  before-breach  of  the  king's  laws,  in  now  the 
king's  quarrel:  where  they  feared  the  death,  they  have  borne  life  away, 
and  where  they  would  be  safe,  they  perish :  then,  if  they  die  unprovided, 
no  more  is  the  king  guilty  of  their  damnation,  than  he  was  before  guilty 
of  those  impieties  for  the  which  they  are  now  visited.  Every  subject's 
duty  is  the  king's;  but  every  subject's  soul  is  his  own.  Therefore, 
should  every  soldier  in  the  wars  do  as  every  sick  man  in  his  bed,  wash 
every  mote  out  of  his  conscience ;  and  dying  so,  death  is  to  him  advan- 
tage ;  or  not  dying,  the  time  was  blessedly  lost,  wherein  such  prepara- 
tion was  gained :  and,  in  him  that  escapes,  it  were  not  sin  to  think,  that 
making  God  so  free  an  offer,  he  let  him  outlive  that  day  to  see  his  great- 
ness, and  to  teach  others  how  they  should  prepare.    Hen.  V.  4:  /. 


I  '  1 


MARRIAGE 

A  world-without-end  bargain.    Love's  Labor  5;  <f. 

In  the  temple,  by  and  b)'  with  us, 

These  couples  shall  eternally  be  knit.    Mid.  Dream  4:  i. 

The  instances,  that  second  marriage  move  1 

Are  base  respects  of  thrift,  but  none  of  love.    Ham.  j:  j. 

I  will  fasten  on  this  sleeve  of  thine : 

Thou  art  an  elm,  my  husband,  I,  a  vine.    Com.  of  Err.  2:  z. 

...  At  Saint  Mary's  chapel,  presently 

The  rites  of  marriage  shall  be  solemnized.    King  John  s:  2. 

She  doth  stray  about 
By  holy  crosses,  where  she  kneels  and  prays 
For  happy  wedlock  hours.      Mcr.  of  Vcn.  y.  i. 

What  mockery  will  it  be, 
To  want  the  bridegroom,  when  the  priest  attends 
To  speak  the  ceremonial  rites  of  marriage.     Taw.  Shrew  3: 2. 

Under  what  title  shall  I  woo  for  thee. 

That  God,  the  law,  my  honor,  and  her  love 

Can  make  seem  pleasing  to  her  tender  years  ?    Rich.  HL  4: 4. 


t 


I 


m  SCRIPTURE  THEMES  IN  SHAKSPEARB 

Get  you  to  church,  and  have  a  good  priest  that  can  tell  you  what 
marriage  is.   As  You  Like  It  j:  3. 

Hasty  marriage  seldom  proveth  well (Yet) 

God  forbid  that  I  should  wish  them  sever'd 

Whom  God  hath  join'd  together.     ///  Hen.  VI.  4: 1. 

Nature  craves 
All  dues  render'd  to  their  owners :  Now 
What  nearer  debt  in  all  humanity 
Than  wife  is  to  the  husband?     Trot,  and  Cres.  2: 2. 


Now  go  with  me,  and  with  this  holy  man, 
Into  the  chantry  by :  there,  before  him. 
And  underneath  that  consecrated  roof. 
Plight  me  the  full  assurance  of  your  faith. 


Twelfth  Night  4: 3. 


If  you  shall  marry. 
You  give  away  this  hand,  and  that  is  mine ; 
You  give  away  Heaven's  vows,  and  those  are  mine ; 
You  give  away  myself,  which  is  known  mine.    All's  Well  5: 3. 
* 

As  there  comes  light  from  heaven,  and  words  from  breath 
As  there  is  sense  in  truth,  and  truth  in  virtue 
I  am  affianc'd  this  man's  wife,  as  strongly 
As  words  could  make  up  vows.    Meas.  for  Meas.  5;  /. 

I  will  make  you  man  and  wife :  .  .  . 
Nay,  come,  your  hands  and  lips  must  seal  it  too : 
And,  being  join'd,  I'll  thus  your  hopes  destroy; — 
And  for  a  further  grief, — God  give  you  joy ! — 
What,  are  you  both  pleas'd?    Pericles  2:5. 

Methinks,  a  father 

Is,  at  the  nuptial  of  his  son,  a  guest 

That  best  becomes  the  table.  .  .  . 

Reason,  my  son 
Should  choose  himself  a  wife ;  but  as  good  reason, 
The  father  (all  whose  joy  is  nothing  else 
But  fair  posterity)  should  hold  some  counsel 
In  such  a  business.    Winter's  Tale  4:3. 


SCRIPTURE  THEMES  IN  SHAKSPEARE 

Marriage  is  a  matter  of  more  worth 

Than  to  be  dealt  in  by  attorneyship ;  .  .  .  . 

For  what  is  wedlock  forced  but  a  hell, 

An  age  of  discord  and  continual  strife  ? 

Whereas  the  contrary  bringeth  forth  bliss 

And  is  a  pattern  of  celestial  peace.     /  Hen.  VI.  5;  5, 

O,  now  let  Richmond  and  Elizabeth, 

The  true  succeeders  of  each  royal  house. 

By  God's  fair  ordinance  conjoin  together! 

And  let  their  heirs  (God,  if  they  will  be  so) 

Enrich  the  time  to  come  with  smooth-faced  peace. 

With  smiling  plenty,  and  fair  prosperous  days !    Rich.  III.  5;  a. 

Then,  as  my  gift,  and  thine  own  acquisition 

Worthily  purchased,  take  my  daughter:    But 

If  thou  dost  break  her  virgin  knot  before 

All  sanctimonious  ceremonies  may 

With  full  and  holy  rite  be  minister'd. 

No  sweet  aspersion  shall  the  heavens  let  fall 

To  make  this  contract  grow.    The  Tempest  4:  i. 

Then  is  there  mirth  in  heaven. 
When  earthly  things  made  even 

At  one  together. 
Good  duke,  receive  thy  daughter 
Hymen  from  heaven  brought  her 

Yea,  brought  her  hither; 
That  thou  might'st  join  her  hand  with  his, 
Whose  heart  within  her  bosom  is.    Song  in  As  You  Like  It  5;  4. 

My  heart's  dear  love  is  set 
On  the  fair  daughter  of  rich  Capulet : 
As  mine  on  hers ;  so  hers  is  set  on  mine 
And  all  combin  d,  save  what  thou  must  combine 
By  holy  marriage.  .  .  .  this  I  pray 

That  thou  consent  to  marry  us  to-day 

Come  come  with  me,  and  we  will  make  short  work ; 
For,  by  your  leaves,  you  shall  not  stay  alone 
Till  holy  church  incorporate  two  in  one. 

Rom.  and  Jul.  2:3  and  2:'6. 


i|» 


igo 


SCRJPTURB   THEMES  IN  SHAKSPEARS 


iii  - 


God,  the  best  maker  of  all  marriages, 
Combine  your  hearts  in  one,  your  realms  in  one  I 
As  man  and  wife,  being  two,  are  one  in  love, 
So  be  there  'twixt  your  kingdoms  such  a  spousal. 
That  never  may  ill  office  or  fell  jealousy, 
Which  troubles  oft  the  bed  of  blessed  marriage, 
Thrust  in  between.    Hen.  V.  y.  i. 

Let  not  the  marriage  of  true  minds 

Admit  impediments.    Love  is  not  love 

Which  alters  when  it  alteration  finds.  .  .  . 

Love's  not  Time's  fool,  though  rosy  lips  and  cheeks 

Within  his  bending  sickle's  compass  come ; 

Love  alters  not  with  his  brief  hours  and  weeks, 

But  bears  it  out  even  to  the  edge  of  doom.    Sonnet  Il6. 

Heaven  witness, 
I  have  been  to  you  a  true  and  humble  wife.  .  .  . 
.  .  .  Sir,  call  to  mind 
That  I  have  been  your  wife,  in  this  obedience 

Upward  of  twenty  years If,  in  the  course 

And  process  of  this  time,  you  can  report, 
And  prove  it  too,  against  my  honor  aught, 
My  bond  to  wedlock,  or  my  love  and  duty 
Against  your  sacred  person,  in  God's  name 
Turn  me  away.    Hen.  VIH.  z:  4. 

God  join'd  my  heart  and  Romeo's,  thou  our  hands; 
And  ere  this  hand,  by  thee  to  Romeo  seal'd, 

Shall  be  the  label  to  another  deed 

.  .  .  O,  bid  me  leap,  rather  than  marry  Paris, 

From  off  the  battlements  of  yonder  tower. 

Or  walk  in  thievish  ways ;  or  bid  me  lurk 

Where  serpents  are ;  chain  me  with  roaring  bears ; 

Or  hide  me  nightly  in  a  charnel-house, 

O'er-cover'd  quite  with  dead  men's  rattling  bones. 

With  reeky  shanks,  and  yellow  chapless  skulls; 

Or  bid  me  go  into  a  new-made  grave. 

And  hide  me  with  a  dead  man  in  his  shroud ; 

Things  that,  to  hear  them  told,  have  made  me  tremble ; 

And  I  will  do  it  without  fear  or  doubt. 

To  live  an  unstain'd  wife  to  my  sweet  love.   Rom.  and  Jul.  '4:1. 


'j__l. 


SCRIPTURE  THEMES  tS  SHAKSPEARE  191 

Ai  a  walled  town  is  more  worthier  than  a  village,  so  is  the  fore- 
head of  a  married  man  more  honorable  than  the  bare  brow  of  a 
bachelor.    As  You  Like  It  3:3. 

I  had  rather  be  married  to  a  death's  head  with  a  bone  in  his  mouth, 
than  to  either  of  these.    God  defend  me  from  these  two.  ...  I  will  do 

anything,  Nerissa,  ere  I  will  be  married  to  a  sponge If  I  should 

bid  the  fifth  welcome  with  so  good  heart  as  I  can  bid  the  other  four 
farewell  I  should  be  glad  oi  his  approach :  if  he  have  the  condition  of  a 
saint,  and  the  complexion  of  a  devil,  I  had  rather  he  should  shrive  me 
than  wive  me.    Mer,  of  Ven.  i:  z. 

Well,  niece,  I  hope  to  see  you  one  day  fitted  with  a  husband 

Not  till  God  make  men  of  some  other  metal  than  earth.  ...  No, 
Uncle  I'll  none :  Adam's  sons  are  my  brethren ;  and  truly  I  hold  it  a  sin 
to  match  in  my  kindred.  .  .  . 

I  would  not  marry  her  though  she  were  endowed  with  all  th.-t  Adam 
had  left  him  before  he  transgress'd.  .  .  . 

.  .  .  Name  the  day  of  marriage,  and  God  give  thee  joy!  .  .  .  His 
grace  hath  made  the  match  and  all  grace  say  Amen  to  it  I  .  .  .  Silence 
is  the  perfectest  herald  of  joy :  I  were  but  little  happy  if  I  could  say  how 
much.  Lady,  as  you  are  mine,  I  am  yours:  .  .  .  Time  goes  on  crutches 
till  Love  have  all  his  rites.     Much  Ado  2:  i. 


MEEKNESS— CONTENTMENT— HUMILITY 
Poor  and  content  is  rich,  and  rich  enough.  Othello  3:3. 
He  is  fam'd  for  mildness,  peace,  and  prayer.    ///  Hen.  VI.  s:  i. 

God  bless  thee,  and  put  meekness  in  thy  breast 

Love,  charity,  obedience  and  true  duty.      Rich.  III.  2: 2. 

I  shall  be  well  content  with  any  choice 

1  ends  to  God's  glory,  and  my  country's  weal.    /  Hen.  VI.  'y.  i. 

Love  and  meekness,  lord, 
Become  a  churchman  better  than  ambition : 
Win  straying  souls  with  modesty  again. 
Cast  none  away.     Hen.  VIII.  5;  2. 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


i    II 


Now,  my  co-mates  and  brothers  in  exile, 
Hath  not  old  custom  made  this  life  more  sweet 
Than  that  of  painted  pomp?    As  You  Like  It  i: i 

My  crown  is  in  my  heart,  not  on  my  head ; 

Not  deck'd  with  diamonds  and  Indian  stones, 

Nor  to  be  seen ;  my  crown  is  called  content, 

A  crown  it  is  that  seldom  kings  enjoy.    ///  Hen.  VI.  3:  Z. 

'Tis  better  to  be  lowly  bom, 
And  range  with  humble  livers  in  content. 
Than  to  be  perk'd  up  in  a  glistering  grief. 
And  wear  a  golden  sorrow.  .  .  .  Our  content 
Is  our  best  having.    Hen.  VHI.  s:  3. 


His  overthrow  heaped  happiness  upon  him; 
For  then,  and  not  till  then,  he  felt  himself. 
And  found  the  blessedness  of  being  little : 
And,  to  add  greater  honors  to  his  age 
Than  man  could  give  him,  he  died  fearing  God. 


Hen.  V HI.  4:  t. 


O  God  I  methinks,  it  were  a  happy  life. 

To  be  no  better  than  a  homely  swain ; 

To  sit  upon  a  hill,  as  I  do  now, 

To  carve  out  dials  quaintly,  point  by  point, 

Thereby  to  see  the  minutes  how  they  run : 

How  many  make  the  hour  full  complete, 

How  many  hours  bring  about  the  day. 

How  many  days  will  finish  up  the  year. 

How  many  years  a  mortal  man  may  live. 

When  this  is  known,  then  to  divide  the  times. 

So  many  hours  must  I  tend  my  flock ; 

So  many  hours  must  I  take  my  rest ;  .  .  .  . 

So  minutes,  hours,  days,  months  and  years, 

Pass'd  over  to  the  end  they  were  created, 

Would  bring  white  hairs  unto  a  quiet  grave. 

Ah,  what  a  life  were  this !  how  sweet !  how  lovely ! 

Gives  not  the  hawthorn  bush  a  sweeter  shade 

To  shepherds  looking  on  their  silly  sheep 

Than  doth  a  rich  embroider'd  canopy 

To  kings  that  fear  their  subjects'  treachery? 


SCRIPTURE  THBMBS  IS  SHAKSPBARS 

Of  jTCfl  it  doth ;  a  thounnd  fold  it  doth. 

And  to  conclude.—the  thepherd't  homely  curd», 

HU  cold  thin  drink  out  of  his  leather  bottle, 

Hii  wonted  ileep  under  a  fre«h  tree's  shade, 

All  which  secure  and  sweetly  he  enjoys, 

Is  far  beyond  a  prince's  delicates. 

His  viands  sparkling  in  a  golden  cup. 

His  body  couched  in  a  curious  bed, 

iWhen  care,  mistrust  and  treason  wait  on  hinj.  ///  Htn.  VI. »:  5. 


199 


MERCY 
Have  mercy  Jesul    Rkh.  III.  5;^. 
God  in  mercy  so  deal  with  my  soul.   //  Hen.  VI.  1:3. 
The  gate"  of  mercy  shall  be  all  shut  up.   Hen.  V.  3: 3. 
Godhavemercy  upononeof  our  soulsl    Twtt       Sight  3: 4. 
There  is  no  more  mercy  in  him  than  there  is  milk  in  a  male  tiger. 

Mercy  then  will  breathe  within  your  lips,  ^ 

Like  man  new  made.     Meas.  for  Meas.  2: 2. 

Lawful  mercy 
Is  nothing  kin  to  foul  redemption.    Meas.  for  Meas.  2:4, 

Open  thy  gate  of  mercy,  grac-ous  God 

My  soul  flies  through  these  wounds  to  seek  out  thee. 

II  Hen.  VI.  t:  4. 

When  vice  makes  mercy,  mercy's  so  extended, 
That  for  the  fault's  love  is  the  offender  friended. 

Meas.  for  Meas.  4: 2. 

And  bids  you,  in  the  Lowels  of  the  Lcrd 
Deliver  up  the  crown ;  and  to  take  mercy 
On  the  poor  souls  for  whom  this  hungry  war 
Opens  his  vasty  jaws.     Hen.  V.  2: 4. 
It 


»&'■  .(J 


'•I 


SCRiPTURB  THEMES  IS  SHAKSPEARE 

Um  eveiy  one  after  hit  deiert,  and  who  should       ^' 
Escape  whipping  I     Ham.  »: »,  * 

O  Lord,  have  mercy  on  us,  wretched  tinnert  t 

0  Lord,  have  mercy  on  me,  woeful  man !     /  Htn.  VI.  i:  4. 

Beyond  the  infinite  and  boundleu  reach 
Of  mercy,  if  thou  didst  this  deed  of  death 
Art  thou  damned.     King  John  4: 3. 

Wilt  thou  draw  near  the  nature  of  the  gods? 

Draw  near  then  in  being  merciful : 

Sweet  mercy  is  nobility's  true  badge.      Titus  And.  t:  i. 

Not  the  king's  crown,  nor  the  deputed  sword 
The  marshal's  truncheon,  nor  the  judge's  robe 
Become  them  with  one  half  so  good  a  grace 
As  mercy  does.     Mtas.  for  Meas.  2:  i. 

1  have  not  stopp'd  mine  ears  to  their  demands 
Nor  posted  off  their  suits  with  slow  delays ; 
My  pity  hath  been  balm  to  heal  their  wounds. 
My  mildness  hath  allay'd  their  swelling  griefs. 

My  mercy  dried  their  water>flowing  tears.    ///  Hen.  VI.  4: 8. 

Pity  is  the  virtue  of  the  law, 
And  none  but  tyrants  use  it  cruelly.  .  .  . 
As  you  are  great,  be  pitifully  good : 
Who  cannot  condemn  rashness  in  cold  blood  ? 
To  kill,  I  grant,  is  sin's  extremest  gust ; 
But,  in  defense,  by  mercy,  'tis  most  just. 
To  be  in  anger  is  impiety ; 
But  who  is  man  that  is  not  angry? 
Weigh  but  the  crime  with  this.     Tim.  of  Athens  3:'$. 

The  quality  of  mercy  is  not  strain'd. 
It  droppeth  as  the  gentle  rain  from  heaven 
Upon  the  place  beneath :  it  is  twice  bless'd ; 
It  blesseth  him  that  gives,  and  him  that  takes ; 
'Tis  mightiest  in  the  mightiest ;  it  becon-es 
The  throned  monarch  better  than  his  crown: 


SCRIPTURB  THEMES  IN  SHAKSPEARE  i«S 

Hit  iccptre  ihowt  the  force  of  temporal  power, 
The  attribute  to  awe  and  majesty. 
Wherein  doth  sit  the  dread  and  fear  of  kings; 
But  mercy  is  above  this  sceptred  sway : 
It  ia  enthroned  in  the  hearu  of  kings, 
It  is  an  attribute  to  God  himself. 
And  earthly  power  doth  then  show  likest  God's, 
When  mercy  seasons  justice.   Therefore,  Jew, 
Though  justke  be  thy  plea,  consider  this,— 
That  in  the  course  of  justice  none  of  us 
Should  see  salvation ;  we  do  pray  for  mercy ; 
And  that  same  prayer  doth  teach  us  all  to  render 
The  deeds  of  mercy.    Mtr.  of  V«n.  4:  i. 

Tor  God's  sake,  pity  my  case!  the  spite  of  man  prevailetK 
again  me.  O  Lord  have  mercy  upon  me.  O  Lord,  have  mercy  upon 
met  1  shall  never  be  able  to  fight  a  blow:  O  Lord,  my  heart  I 
//  Hen.  VI.  1:3. 


MIRACLES 

Thy  life's  a  miracle.     King  Lear  4: 6. 

It  must  be  so :  for  miracles  are  ceased ; 

And  therefore  we  must  needs  admit  the  means 

How  things  are  perfected.    Hen.  V.  i:  j. 

Virtuous  and  holy ;  chosen  from  above, 

By  inspiration  of  celestial  grace. 

To  work  exceeding  miracles  on  earth.     /  Hen.  VI.  '5: 4. 

Great  floods  have  flown 
From  simple  sources ;  and  great  seas  have  dried, 
When  miracles  have  by  the  greatest  been  denied.   'All's  Well 


I. 


They  say,  miracles  are  past ;  and  we  have  our  philosophical  persons, 
to  make  modern  and  familiar  things  supernatural  and  causeless.  Hence 
is  it  that  we  make  trifles  of  terrors ;  ensconcing  ourselves  into  seeming 
knowledge,  when  we  should  submit  to  an  unknown  fear. 

All's  Well  z:  2. 


fS6 


SCRIPTURE  THEMES  IN  SHAKSPEARS 


'\       \ 


NATURE'S  LESSONS 

One  touch  of  nature  makes  the  whole  world  kin. 

Troi  and  Cres.  3:3. 
In  nature's  infinite  book  of  secrecy 
A  little  I  can  read.     Ant.  and  Cleo.  i:  2. 

At  Christmas  I  no  more  desire  a  rose 

Than  wish  a  snow  in  May's  new-fangled  shows.  Love's  Labor  j:  I. 

How  sometimes  nature  will  betray  its  folly. 
Its  tenderness,  and  make  itself  a  pastime 
To  harder  bosoms!    Winter's  Tale  1:2. 

Nature  does  require 
Her  times  of  preservation,  which,  perforce, 
I  her  frail  son,  amongst  my  brethren  mortal. 
Must  give  my  tendance  to.      Hen.  VIII.  3:2. 

In  nature  there's  no  blemish  but  the  mind ; 
None  can  be  call'd  deform'd  but  the  unkind 
Virtue  is  beauty ;  but  the  beauteous  evil 
Are  empty  trunks,  o'erflourish'd  by  the  devil. 

Twelfth  Night  3:4. 

Are  not  these  woods 
More  free  from  peril  than  the  envious  court  ? 
Here  feel  we  not  the  penalty  of  Adam, 
The  season's  difference,  or  the  icy  fang, 
And  churlish  chiding  of  the  winter's  wind. 
Which  when  it  bites,  and  blows  upon  my  body, 
Even  till  I  shrink  with  cold,  I  smile,  and  say. 
This  is  no  flattery:  these  are  counsellors 
That  feelingly  persuade  me  what  I  am. 
Sweet  are  the  uses  of  adversity, 
Which,  like  the  toad,  ugly  and  venomous, 
Wears  yet  a  precious  jewel  in  his  head ; 
And  this  our  life,  exempt  from  public  haunt. 
Finds  tongues  in  trees,  books  in  the  running  brooks, 
Sermons  in  stones,  and  good  in  every  thing. 

As  You  Like  It  2: 1. 


SCRIPTURE  THEMES  IN  SHAKSPBARB 

When  clouds  aic  seen,  wise  men  put  on  their  cloaks; 
When  great  leaves  falj,  then  winter  is  at  hand : 
When  the  sun  sets,  who  doth  not  look  for  night? 
Untimely  storms  make  men  expect  a  dearth. 
All  may  be  well ;  but,  if  God  sort  it  so, 

'Tis  more  than  we  deserve,  or  I  expect 

By  a  divine  instinct  men's  minds  mistrust 
Pursuing  danger;  as  by  proof  we  see 
The  water  swell  before  a  boisterous  stomt 
But  leave  it  all  to  God.    Rich.  III.  3:3. 


197 


OBEDIENCE 

Let  him  obey  that  know  not  how  to  rule.    II  Hen.  VI.  5:1. 

I  hourly  learn  a  doctrine  of  obedience.    Ant.  and  Cleo.  5:2. 

You  sin  against 
Obedience  which  you  owe  your  father.    Cymh.  3:3. 

Obey  thy  parents;  keep  thy  word's  justice;  swear  not;  commit  not 
with  man's  sworn  spouse; set  not  thy  sweet  heart  on  proud  array. 
King  Lear  3:4. 

I  do  not  know 
What  kind  of  my  obedience  I  should  tender, 
More  than  my  all  is  nothing ;  nor  my  prayers 
Are  not  words  duly  hallow 'd.    (See  Prayer.)     Hen.  VIU.  2:3. 

Therefore  doth  Heaven  divide 
The  state  of  man  in  divers  functions, 
Setting  endeavor  in  continual  motion; 
To  which  is  fixed,  as  an  aim  or  butt, 
Obedience.     Hen.  V.  1:2. 


I0B 


SCRIPTURB  THEMES  IN  SHAKSPEARE 


OFFICIAL  CORRUPTION— TYRANNY 

O !  that  estates,  degrees,  and  offices 

Were  not  deriv'd  corruptly.     Mer.  of  Ven.  x:  p. 

Plate  sin,  with  gold. 
And  the  strong  lance  of  justice  hurtless  breaks ; 
Arm  it  in  rags,  a  pigmy's  straw  doth  pierce  it.    King  Lear  4: 6. 

Thieves  for  their  robbery  have  authority, 

When  Judges  steal  themselves 

O,  it  is  excellent 
To  have  a  giant's  strength ;  but  it  is  tyrannous 
To  use  it  like  a  giant.    Meas.  for  Meas.  2: 2. 

And  let  me  tell  you  Cassius,  you  yourself 

Are  much  condemn'd  to  have  an  itching  palm ; 

To  sell  and  mart  your  offices  for  gold  to  underservers. 

.  .  .  Shall  we  now 
Contaminate  our  fingers  with  base  bribes. 
And  sell  the  mighty  space  of  our  large  honors 
For  so  much  trash  as  may  be  grasped  thus.    Jul.  Caesar  4: 3. 

Thou  little  valiant,  great  in  villainy! 

Thou  ever  strong  upon  the  stronger  side! 

Thou  fortune's  champion,  that  dost  never  fight 

But  when  her  humorous  ladyship  is  by 

To  teach  thee  safety !  thou  art  perjur'd  too. 

And  sooth'st  up  greatness.    What  a  fool  art  thou, 

A  ramping  fool,  to  brag,  and  stamp,  and  swear. 

Upon  my  party!    Thou  cold-blooded  slave, 

Hast  thou  not  spoke  like  thunder  on  my  side 

Been  sworn  my  soldier?  bidding  me  depend 

Upon  thy  stars,  thy  fortune,  and  thy  strength? 

And  dost  thou  now  fall  over  to  my  foes? 

Thou  wear  a  lion's  hide !  doff  it  for  shame. 

And  hang  a  calf's-skin  on  those  recreant  limbs.   King  John  3:  r. 


SCRIPTURE  THEMES  IN  SHAKSPBARB 


PATIENCE— HOPE 

.  God,  our  hope,  will  succx>r  us.    //  Hen.  VI.  4: 5. 

You  Heavens,  give  me  that  patience,  patience  I  need.   King  Lear  2: 4. 

A  high  hope  for  a  low  heaven :  God  grant  us  patience  I 

Love's  Labor  i:  i. 

The  miserable  have  no  other  medicine, 
But  only  hope.    Meas.  for  Meas.  3:  i. 

God  of  his  mercy,  give  you 
Patience  to  endure.     Hen.  V.  2: 2. 

I  must  be  patient,  till  the  heaven's  look 

With  an  aspect  more  favorable.    Winter's  Tale  2:  x. 

I  here  protest,  in  sight  o    '  Teaven, 
And  by  the  hope  I  have  of  heavenly  bliss.    ///  Hen.  VL  3: 3. 

Farewell — 
The  hopes  of  court !  my  hopes  in  Heaven  do  dwell.    Hen.  VUL  3: 2. 

I  will  (be  patient) 
When  you  are  humble ;  nay,  before. 
Or  God  will  punish  me.     Hen.  VHl.  2: 4. 

Arming  myself  with  patience 
To  stay  [wait  for]  the  providence  of  some  h''2;h  powers, 
That  govern  us  below.   Jul.  Caesar  5;  /. 

I  died  for  hope,  ere  I  could  lend  thee  aid : 

But  cheer  thy  heart,  and  be  thou  not  dismay'd 

God  and  good  angels  fight  on  Richmond's  side.   Rich.  ///.  5;  3. 

I  do  oppose 
My  patience  to  his  fury ;  and  am  arm'd 
To  suffer,  with  a  quietness  of  spirit, 
The  very  tyranny  and  rage  of  his.   Mer.  of  Ven.  4:  t. 


■ 


«oo  SCRIPTURE  THEMES  IN  SHAKSPSARS 

She  sat  like  patience  on  a  monument, 
Smiling  at  grief.     Twelfth  Night  z:  4. 

How  poor  are  they  that  have  not  patience  I 

iWhat  wound  did  ever  heal  but  by  degrees  ?   Othello  2: 3. 

Then  in  God's  Mame,  march ; 
True  hope  is  swift,  and  flies  with  swallow's  wings. 
Kings  it  makes  gods,  and  meaner  creatures  kings.    Rich.  III.  5;  i. 

Had  it  pleas'd  Heaven 
To  try  me  with  affliction  ... 
I  should  have  found,  in  some  part  of  my  soul 
A  drop  of  patience.     Othello  4: 2. 

.  .  .  Oh !  you  blessed  ministers  above, 
Keep  me  in  patience ;  and  with  ripen'd  time, 
iUnfold  the  evil  which  is  here  wrapp'd  up 
In  countenance  I*    Heaven  shield  your  grace  from  woe 
IA.S  I,  thus  wrong'd,  hence  unbelieved  go.   Meas.  for  Meas.  5;  /. 


He  that  will  have  a  cake  out  of  the  wheat  must  needs  tarry  the  grind- 
ing. .  .  . 
Patience  herself,  what  goddess  e'er  she  be. 
Doth  lesser  blench  at  sufferance  than  I  do.    Troi.  and  Cres.  i:  i. 

Patience,  unmoved,  no  marvel  though  she  pause ; 

They  can  be  meek  that  have  no  other  cause. 

A  wretched  soul,  bruised  with  adversity, 

We  bid  be  quiet  when  we  hear  it  cry ; 

But  were  we  burthen'd  with  a  like  weight  of  pain, 

As  much,  or  more,  we  should  ourselves  complain.    Com.  of  Err.  2:  T. 

Bring  me  a  father  that  so  lov'd  his  child, 
Whose  joy  of  her  is  overwhelm'd  like  mine. 
And  bi''  !iim  speak  to  me  of  patience ; 
Measure  his  woe  the  length  and  breadth  of  mine 
And  let  it  answer  every  strain  for  strain ; 
As  thus  for  thus,  and  such  a  grief  for  such', 

'False  appearance. 


4^^.^ 


SCRIPTVRS  THBMBS  IN  SHAKSPP^iRJi 

In  every  lineament,  branch,  shape,  and  form : 

If  such  a  one  will  smile,  and  stroke  his  beard ; 

Call  sorrow  joy ;  cry  hem,  when  he  should  groan ; 

Patch  grief  with  proverbs ;  mbke  misfortune  drunk 

With  candle-wasters ;  bring  him  you  to  me. 

And  I  of  him  will  gather  patience. 

But  there  is  no  such  man ;  for,  brother,  men 

Can  counsel,  and  speak  comfort  to  that  grief 

(Which  they  themselves  not  feel ;  .  .  .  . 

No,  no;  'tis  all  men's  office  to  speak  patience 

To  those  that  wring  under  the  load  of  sorrow. 

But  no  man's  virtue,  nor  sufficiency. 

To  be  so  moral  when  he  shall  endure 

The  like  himself.    Therefore  give  me  no  counsel :  .  .  . 

.  .  .  For  there  was  never  yet  philosopher. 

That  could  endure  the  tooth-ache  patiently. 

However  they  have  writ  the  style  of  gods. 

And  make  a  push  at  chance  and  sufferance.    Much  'Ado  '$:  I. 


'Pl.kCE    (See  War) 
Blessed  are  the  peace-makers  on  earth'.   //  Hen.  VI.  2:  i. 

A  peace  above  all  earthly  digniiles.    (See  Conscience.) 

Hen.VIU.3:2. 
I  will  not  think  but  they  ascend  the  sky 
And  there  awake  God's  gentle-sleeping  peace.    Rich.  III.  i;j. 

Make  peace  with  God  for  you  must  die.  .  .  . 

Have  you  that  holy  feeling  in  your  souls 

To  counsel  me  to  make  my  peace  with  God?    Rich.  III.  i: 4. 

Still  in  thy  right  hand  carry  gentle  peace, 
To  silence  envious  tongues.    Be  just,  and  fear  not; 
Let  iil  the  ends  thou  aim'st  at  be  thy  country's. 
Thy  God's,  and  truth's.    Hen.  VIII.  3: 2. 

I  always  thought 
It  was  both  impious  and  unnatural 
That  such  immanity  and  bloody  strife 
Should  reign  among  professors  of  one  faith.    7  Hen.  VI.  '5:  T. 


SCRIPTURE  THEMES  IN  SHAKSPEARB 

The  peace  of  heaven  is  theirs  that  lift  their  swords 
In  such  a  just  and  charitable  war.  .  .  . 
Whiles,  we,  God's  wrathful  agent,  do  correct 
Their  proud  contempt  that  beat  his  peace  to  heaven. 

King  John  2:  i. 

But,  Warwick,  after  God,  thou  sett'st  me  free, 

And  chiefly  therefore  I  thank  God  and  thee ; 

He  was  the  author,  thou  the  instrument  .  .  . 

.  .  .  Thou  art  worthy  of  the  sway. 

To  whom  the  Heavens,  in  thy  nativity, 

Adjudg'd  an  olive-branch,  and  laurel  crown, 

As  likely  to  be  bless'd  in  peace,  and  war.   ///  Hen.  VI.  4: 6. 

God  and  our  good  cause  fight  upon  our  side ; 
The  prayers  of  holy  saints  and  wronged  souls 
Like  high-rear'd  bulwarks  stand  before  our  faces. 
.  .  .  One  that  hath  ever  been  God's  enemy. 
Then,  if  you  fight  against  God's  enemy : 
God  will,  in  justice,  ward  you  as  his  soldiers : 
If  you  do  sweat  to  put  a  tyrant  down. 
You  sleep  in  peace,  the  tyrant  being  slain ; 
If  you  do  fight  against  your  country's  foes. 
Your  country's  fat  shall  pay  your  pains  the  hire ; 
If  you  do  fight  in  safeguard  of  your  wives, 
Your  wives  shall  welcome  home  the  conquerors ; 
If  you  do  free  your  children  from  the  sword. 
Your  children's  children  quit  it  in  your  age. 
Then,  in  the  name  of  God,  and  all  these  rights, 
Advance  your  standards,  draw  your  willing  swords. 

Rich.  III.  5: 2. 

In  her  days  every  man  shall  eat  in  safety 
Under  his  own  vine  what  he  plants,  and  sing 
The  merry  songs  of  peace  to  all  his  neighbors. 
God  shall  be  truly  known ;  and  those  about  her 
From  her  shall  read  the  perfect  ways  of  honor. 
And  by  those  claim  their  greatness,  not  by  blood. 
Nor  shall  this  peace  sleep  with  her :  but  as  when 
The  bird  of  wonder  dies,  the  maiden  phoenix. 
Her  ashes  new  create  another  heir. 
As  great  in  admiration  as  herself ; 


SCRIPTURE  THEUBS  IN  SHAKSPEARB  »$ 

So  ihall  sh«  leave  her  blessedness  to  one, 

(When  heaven  shall  call  her  from  his  cloud  of  darkness) 

Who,  from  the  sacred  ashes  of  her  honor, 

Shall  sUr-like  rise,  as  great  in  fame  as  she  was 

And  so  stand  fix'd.    Peace,  plenty,  love,  truth,  terror. 

That  were  the  servants  to  this  chosen  infant. 

Shall  then  be  his,  and  like  a  vine  grow  to  him : 

Wherever  the  bright  sun  of  heaven  shall  shine. 

His  honor  and  the  greatness  of  his  name 

Shall  be,  and  make  new  nations :  he  shall  flourish. 

And,  like  a  mountain  cedar,  reach  his  branches 

To  all  the  plains  about  him.    Our  children's  children 

Shall  see  this,  and  bless  heaven.    Hen.  VIII.  5: 4. 

In  the  managing  of  quarrels  you  may  see  he  is  wise ;  for  either  he 
avoids  them  with  discretion,  or  undertakes  them  with  a  Christian-like 
fear. 

If  he  do  fear  God  he  must  necessarily  keep  peace ;  if  he  break  the 
peace  he  ought  to  enter  into  a  quarrel  with  fear  and  trembling. 

Much  Ado  2:  j. 


PRAISE— THANKFULNESS 

God  be  praised  and  blessed.    Hen.  V.  j:6. 

To  celebrate  the  joy  that  God  hath  given  us.    /  Hen.  VI.  i:  6. 

Giving  full  trophy,  signal  and  ostent 

Quite  from  himself  to  God.    Chorus  to  Hen.  V.  5. 

Then,  Heaven,  set  ope  thy  everlasting  gates, 

To  entertain  my  vows  of  thanks  and  praise !    //  Hen.  VI.  4:  p. 

O  God,  thy  arm  was  here, 
And  not  to  us,  but  to  thy  arm  alone, 
Ascribe  we  all,  .  .  .  Take  it,  God, 
For  it  is  none  but  thine  I  .  .  . 
And  be  it  death  proclaimed  through  our  host. 
To  boast  of  this  or  take  that  praise  from  God, 
Which  is  his  only.    Hen.  V.  4:8. 


.«cfeiMi 


n  :<  ■ 


SCRIPTURE  THEMES  IN  SHAKSPBARB 

Let  never  day  nor  night  unlwllow'd  pats, 

But  still  remember  what  the  Lord  hath  done.  //  Hen.  Vt.  »:  i. 

I  myself  will  lead  a  private  life, 
And  in  devotion  spend  my  latter  days, 
To  sins  rebuke,  and  my  Creator's  praise.   ///  Hen.  VI.  4: 6. 


PRAYER 

Now  I  am  past  all  comfort  here,  but  prayers.   Hen.  VIII.  4: 2. 

He  is  fam'd  for  mildness,  peace,  and  prayer.   Ill  Hen.  VI.  2:  i. 

The  churdi's  prayers  made  him  so  prosperous.   /  Hen.  VI.  i:  i. 

They  have  said  their  prayers,  and  they  stay  for  death.   Hen.  V.  4: 2. 

I  will  wi?h  her  speedy  strength  and  visit  her  with  my  prayers. 

Corxo.  i.'S. 

I  stood  and  heard  them :  but  they  did  say  their  prayers. 
(See  Conscience.)      Macb.  2:2. 

If,  when  you  make  your  prayers, 

God  should  be  so  obdurate  as  yourselves.    //  Hen.  VI.  4:  /. 

My  words  fly  up,  my  thoughts  remain  below :  »    ^ 

Words,  without  thoughts,  never  to  heaven  go.   Ham.  3: 3.  ^ 

I  have  toward  heaven  breath'd  a  secret  vow 

To  live  in  prayer  and  contemplation.    Mer.  of  Ven.  3:4. 

If  ever  danger  do  environ  thee. 

Commend  thy  grievance  to  my  holy  prayers.   Two  Gent,  i:  I. 

Our  prayers  do  out-pray  his ;  then  let  them  hav 

That  mercy  which  true  prayers  ought  to  have.    Rich.  II.  5:3. 

All  lost !  to  prayers,  to  prayers !  all  lost  I 

The  wills  above  be  done,  but  I  should  fain  die  a  dry  death. 

Tempest  i:  I. 


SCRIPTURE  THBUBS  IN  SHAKSPBARB  los 

My  love  till  death,  my  humble  thanks,  my  prayers; 

That  love  which  virtue  begs  and  virtue  granU.   ///  Htn.  VL  3: », 

Make  of  your  prayers  one  sweet  sacrifice. 

And  lift  my  soul  to  heaven.    ( See  Faitlifutaess.)    Hen,  Fill,  i:  i. 

His  worst  fault  is  that  he  is  given  to  prayer;  he  is  something  peev- 
ish that  way :  but  nobody  but  has  his  faults.  Merry  Wives  x:  4. 

...  In  the  course  of  justice,  none  of  us 
Should  see  salvation :  we  do  pray  for  mercy. 
And  that  same  prayer  doth  teach  us  all  to  render 
The  deeds  of  mercy.    Mer.  of  '-^^n.  4:  /. 

Have  charged  him, 
At  the  sixth  hour  of  morn,  at  noon,  at  midnight. 
To  encounter  me  with  orisons,  'or  then 
I  am  in  heaven  for  him.    Cymb.  i:  4. 

We,  ignorant  of  ourselves. 
Beg  often  our  own  harms,  which  the  wise  powers 
Deny  us  for  our  good ;  so  find  we  profit 
By  losing  of  our  prayers.    Ant.  and  Geo.  s:  i. 

One  eye  th ju  hast,  to  look  to  heaven  for  grace ; 

The  sun  with  one  eye  vieweth  all  the  world. 

Heaven,  be  thou  gracious  to  none  alive. 

If  Salisbury  wants  mercy  at  thy  hand.    /  Hen.  VI.  i:  4. 

My  ending  is  despair. 
Unless  I  be  relieved  by  prayer ; 
Which  pierces  so,  that  it  assaults 
M^rcy  itself,  and  press  all  faults.    Tempest— Epilogue. 

O  Thou !  whose  captain  I  account  myself. 

Look  on  my  forces  with  a  gracious  eye ;  .  .  . 

Make  us  thy  ministers  of  chastisement. 

That  we  may  praise  thee  in  thy  victory ! 

To  thee  I  do  commend  my  watchful  soul. 

Ere  I  let  fall  the  windows  of  mine  eyes ; 

Sleeping,  and  waking,  O,  defend  me  still.   Rich.  III.  s:  3. 


l\ 


SCRIPTURE  THSUES  IN  SHAKSPBAR8 

My  prayen 
Are  not  word*  duly  hallow'd,  nor  my  wishes 
More  worth  than  empty  vanities ;  yet  prayers,  and  wishes 
Are  all  I  can  return.    (See  Obedience.)     H«n.  VIII.  3:3. 

0  God  I  if  my  deep  prayers  cannot  appease  thee. 
But  thou  wilt  be  aveng'd  on  my  misdeeds, 

Yet  execute  thy  wrath  on  me  alone: 

O,  spare  my  guiltless  wife  and  my  poor  children  t  Rich.  lit.  /:  ^ 

When  I  would  pray  and  think,  I  think  and  pray 

To  several  subjects;  Heaven  hath  my  empty  words; 

Whilst  my  invention,  hearing  not  my  tongue. 

Anchors  on  Isabel :    Heaven  in  my  mouth. 

As  if  I  did  but  only  chew  his  name.   Meas.  for  Meas.  2: 4. 

O,  remember,  God, 
To  hear  her  prayer  for  them,  as  now  for  us  I 
And  for  my  sister,  and  her  princely  sons. 
Be  satisfied,  dear  God,  with  our  true  blood, 
Which,  as  thou  know'st  unjustly  must  be  spilt.    Rich.  III.  3: 3. 

Oh,  here  I  lift  this  one  hand  up  to  heaven. 

And  bow  this  feeble  ruin  to  the  earth : 

If  any  power  pities  wretched  tears. 

To  that  I  call :  What,  wilt  thou  kneel  with  me? 

Do,  then,  dear  heart,  for  heaven  shall  hear  our  prayers. 

Titus  And.  3:  i. 

Not  with  fond  shekels  of  the  tested  gold. 

Or  stones,  whose  rates  are  either  rich  or  poor 

As  fancy  values  them ;  but  with  true  prayers 

That  shall  be  up  at  heaven,  and  enter  there. 

Ere  sunrise :  prayers  from  preserved  souls.   Meas.  for  Meas.  i:  i. 

1  throw  my  hands,  mine  eyes,  my  heart  to  thee. 
Thou  setter  up  and  plucker  down  of  kings ! 
Beseeching  thee,  if  with  thy  will  it  stands 
That  to  my  foes  this  body  must  be  prey. 

Yet  that  thy  brazen  gates  of  heaven  may  ope 

And  give  sweet  passage  to  my  sinful  soul !    ///  Hen.  VI.  z:  3- 


SCRIPTURE  THEMES  IN  SHAKSPBARB  « 

Remember  thii, — 
God  ind  our  good  cauie,  fight  upon  our  lide ; 
The  prayers  of  holy  ninU  and  wrong'd  louls, 
Like  high-rear'd  bulwarks,  stand  before  our  faces.  Rick  III.  5:3. 

What  angel  shall 
Bless  this  unworthy  husband  ?  he  cannot  thrive 
Unless  her  prayers,  whom  Heaven  delights  to  hear, 
And  loves  to  grant,  reprieve  him  from  the  wrath 
Of  greatest  justice.    All's  Well  $:  4. 

Pray  can  I  not. 
Though  inclination  be  as  sharp  as  will ;  .  .  .  . 
And  what's  in  prayer,  but  this  two-fold  force,— 
To  be  forestalled,  ere  we  come  to  fall,  j^ 

Or  pardon'd  being  down  ?   Then  Fll  look  up ; 
My  fault  is  past.    But  O,  what  form  of  prayer 
Can  serve  my  turn  ?   Ham.  j:  j. 


TKJat  for  his  prey  to  pray  he  doth  b^n, 

As  if  the  heaven  should  countenance  his  sin.  .  .  . 

But  in  the  midst  of  his  unfruitful  prayer. 

Having  solicited  the  eternal  power. 

That  his  foul  thoughts  might  compass  his  fair  fair, 

quoth  he 

The  powers  to  whom  I  pray  abhor  this  fact, 

How  can  they  then  assist  me  in  the  act.    Lucrece,  St.  4p,  'so. 


ia^~.i-,»\ 


JM 


SCUPTURB  THUMBS  IN  SHAKSPBAKB 

PROVIDENCE 
We  arc  in  God'f  hand*,  brother.   Hen.  V.  3: 6. 
Heaven  hath  a  hand  in  these  events.   Rich.  II.  5:  /. 
There's  such  divinity  doth  hedge  a  k?  •?.    Ham.  4:5,        f  ^ 
There's  a  special  providence  in  the  fall  of  a  sparrow.    Ham.  5;  #. 


There's  a  divinity  that  shapes  our  ends, 
Rough-hew  them  how  we  will.    Ham.  5;  g. 


He  that  doth  the  ravens  feed. 

Yea,  providently  caters  for  the  sparrow.    As  You  Ukt  It  »:  3. 

Virtue  preserv'd  from  fell  destruction's  blast 

Led  on  by  Heaven  and  crown'd  with  joy  at  last   Pericles  5;  j. 

.  .  .  The  grace  of  heaven 
Before,  behind  thee,  and  on  every  hand 
Enwheel  thee  round  1     Othello  »;  f 

Arming  myself  with  patience. 
To  stay  the  providence  of  some  high  powers. 
That  govern  us  below.   Jul.  Caesar  5;  /. 

This  was  a  venture,  sir,  that  Jacob  serv'd  for; 

A  thing  not  in  his  power  to  bring  to  pass, 

But  sway'd  and  fashion'd  by  the  hand  of  Heaven. 

Mer.  of  Ven.  1:3. 
There  is  a  tide  in  the  affairs  of  men, 
Which,  taken  at  the  flood,  leads  on  to  fortune : 
Omitted,  all  the  voyage  of  their  life 
Is  bound  in  shallows  and  in  miseries.     Jul.  Caesar  '4:3. 

By  a  divine  instinct,  men's  minds  mistrust 
Ensuing  danger ;  as  by  proof,  we  see 
The  waters  swell  before  a  boist'rous  storm 
But  lecve  it  all  to  God.    Rich.  III.  z:  3. 


SCRIPTURB  THEMES  IN  SHAKSPBARB  m 

The  providence  thaf«  in  a  watchful  state.  .  .  . 

Pindf  Ik  (torn  in  the  uncomprehensive  deeps ; 

Keq»  place  with  thought,  and  almost,  like  the  gods, 

Does  thoughts  unveil  in  their  dumb  cradles.    Trot,  and  Crtt.  3:  $. 


PURITY— HONOR— COURAGE— RECTITUDE 
Heaven  keep  your  honor  safe!    Meas,  for  Mtas.  2: a. 
If  I  lose  mine  honor  I  lose  myself.   Ant.  and  Clto.  3: 4. 
A  heart  unspotted  is  not  easily  daunted.    //  Hen.  VI.  3:  r. 
The  valiant  never  taste  of  death  but  once.    Jul.  Caesar  2:  a. 
Unstain'd  thoughts  do  seldom  dream  on  evil.    Lucrece,  St.  13. 
There  is  no  time  so  miserable  but  a  man  may  be  true.    Timon  '4:3. 

Where  I  could  not  be  honest 

I  never  yet  was  valiant.    King  Lear  5;  /. 

The  truat  I  have  is  in  mii;c  innocence, 

And  therefore  am  I  bold  and  resolute.    //  Hen.  VI.  4: 4. 

He's  truly  valiant  that  wisely  suffers 

The  worst  that  man  can  breathe.    Timon  3: 5. 

Mine  honor  is  my  life;  both  grow  in  one: 

Take  honor  from  me  and  my  life  is  done.    Rich.  II.  i:  z. 

To  thine  own  self  be  true ; 

And  it  must  follow,  as  the  night  the  day,  , 

Thou  can'st  not  then  be  false  to  any  man.    Ham.  1:3. 

His  words  are  bonds,  his  oaths  are  oracles ; 
His  love  sincere,  his  thoughts  immaculate , 
His  tears,  pure  messengers  sent  from  his  heart ; 
His  heart  as  far  from  fraud  as  heaven  from  earth'.    Two  Gent.  2: 7. 
14 


■li^ 


if 

11' 


I 


«0  SCRIPTURE  THEMES  IN  SHAKSPEARS 

Mine  honor  keeps  the  weather  of  my  fate : 

lyife  every  man  holds  dear ;  but  the  dear  man 

Holds  honor  far  more  precious  dear  than  life.    Trot,  and  Cres.  5:3. 

Tis  the  mind  that  makes  the  body  rich ; 

And  as  the  sun  breaks  through  the  darkest  clouds, 

So  honor  peereth  in  the  meanest  habit.    Tam.  of  Shrew  4:3. 

God  forbid,  .  .  . 
That  you  should  fashion,  wrest,  or  bow  your  reading, 
Or  nicely  charge  your  understanding  soul 
With  open  titles  miscreate  (spurious).    Hen.  V.  1:2. 

Shall  Cesar  send  a  lie? 
Have  I  in  conquest  stretch'd  mine  arm  so  far, 
To  be  afeard  to  tell  gray-beards  the  truth?— 
Decius,  go  tell  them  Caesar  will  not  come.    Jul.  Caesar  2:2. 

Love  thyself  last;  cherish  those  hearts  that  hate  thee: 

Corruption  wins  not  more  than  honesty. 

Still  in  thy  hand  carry  gentle  peace, 

To  silence  envious  tongues.    Be  just,  and  fear  not: 

Let  all  the  ends  thou  aim'st  at  be  thy  country's. 

Thy  God's  and  Truth's.   Hen.  VUI.  3:  s. 

What  is  it  that  you  would  impart  to  me? 

If  it  be  aught  toward  the  general  good. 

Set  honor  in  one  eye,  and  death  i'  the  other: 

And  I  will  look  on  both  indifferently: 

For,  let  the  gods  so  speed  me  as  I  love 

The  name  of  honor  more  than  I  fear  death.   Jul.  Caesar  i:  2.  \ 

For  I  am  arm'd  so  strong  in  honesty. 

That  they  pass  by  me  as  the  idle  wind. 

Which  I  respect  not.    I  did  send  to  you 

For  certain  sums  of  gold,  which  you  denied  me; 

For  I  can  raise  no  money  by  vile  means : 

By  heaven,  I  had  rather  coin  my  heart. 

And  drop  my  blood  for  drachmas,  than  to  wring 

From  the  hard  hands  of  peasants  their  v-te  trash. 

By  any  indirection.    Jul.  Caesar  4: 3. 


SCRIPTURE  THEMES  IN  SHAKSPBARS 

He  was  a  scholar,  and  a  ripe  and  good  one : 
Exceeding  wise,  fair  spoken,  and  persuading: 
Lofty,  and  sour,  to  them  that  lov'd  him  not; 
P'Vi.,  !0  iffCje  men  that  sought  him,  sweet  as  summer. 

.  And,  to  ad-j  greater  honors  to  his  age 
iltan  mun  coul:!  jive  him,  he  died  fearing  God.    Hen.  VIIL  4:2. 

Ui  tiiat  tjfstes  degrees,  and  offices. 

Were  not  deriv'd  corruptly;  and  that  clear  honor 

Were  purchas'd  by  the  merit  of  the  wearer  I 

How  many  men  then  should  cover,  that  stand  bare; 

How  many  commanded,  that  command : 

How  much  low  peasantry  would  then  be  glean'd 

From  the  true  seed  of  honor.    Mer.  of  Ven.  2:9. 

The  purest  treasure  mortal  times  afford 

Is  spotless  reputation;  that  away. 

Men  are  but  gilded  loam,  or  painted  day,  .  .  . 

Mine  honor  is  my  life;  both  grow  in  one; 

Take  honor  from  me,  and  my  life  is  done. 

Then,  dear  my  li^e,  mine  honor  let  me  try; 

In  that  I  live,  and  for  that  will  I  die.    Rich.  II.  1:  i. 


Not  a  man,  for  being  simply  man. 
Hath  any  honor;  but  honor  for  those  honors 
That  are  without  him,  as  place,  riches,  favor. 
Prizes  of  accident  as  oft  as  merit: 
Which,  when  they  fall,  as  being  slippery  standers, 
The  love  that  lean'd  on  them,  as  slippery  too. 
Doth  one  pluck  down  another,  and  together 
Die  in  the  fall.    Troi.  and  Cres.  3:3. 

Master,  go  on,  and  I  will  follow  thee 
To  the  last  gasp  with  truth  and  loyalty. 
From  seventeen  years,  till  now  almost  fourscore. 
Here  lived  I,  but  now  live  here  no  more. 
At  seventeen  years  many  their  fortunes  seek. 
But  at  fourscore  it  is  too  late  a  week: 
Yet  fortune  cannot  recompense  me  better. 
Than  to  die  well,  and  not  my  master's  debtor.    As  Y<m  Eike  It  z:  3, 


m  SCRIPTURE  THEMES  IN  SHAKSPEARB 

It  shall  scarce  boot  me 
To  say  "  Not  guilty: "  mine  integrity. 
Being  counted  falsehood,  shall,  as  I  express  it, 
Be  so  receiv'd.    But  thus : — If  powers  divine 
Behold  our  human  actions,  (as  they  do) 
I  doubt  not,  then,  but  innocence  shall  make 
False  accusation  blush,  and  tyranny 
Tremble  at  patience. — You,  my  lord,  best  know, 
(Who  least  will  seem  to  do  so)  my  past  life 
Hath  been  as  continent,  as  chaste,  as  true. 
As  I  am  now  unhappy ;  which  is  more 
Than  history  can  pattern,  though  devis'd, 
And  play'd  to  take  spectators.    For  behold  me, 
A  fellow  of  the  royal  bed,  which  owe 
A  moiety  of  the  throne,  a  great  king's  daughter, 
The  mother  to  a  hopeful  prince,  here  standing 
To  prate  and  talk  for  life,  and  honor,  'fore 
Who  please  to  come  and  hear.    For  life,  I  prize  it 
As  I  weigh  grief,  which  I  would  spare :  for  honor, 
'Tis  a  deriv'tive  from  me  to  mine, 
And  only  that  I  stand  for.    Winter's  Tale  3: 2. 


She  dwells  so  securely  on  the  excellency  of  her  honor,  that  the  folly 
of  my  suit  dares  not  present  itself:  she  is  too  bright  to  be  looked 
against.    Merry  Wives  2: 2. 

To  be  honest,  as  this  world  goes,  is  to  be  one  man  picked  out  of  two 
thousand.    Ham.  2:2. 

She  is  of  so  free,  so  kind,  so  apt,  so  blessed  a  disposition,  that  she 
holds  it  a  vice  in  her  goodness,  not  to  do  more  than  she  is  requested. 

Othello  2:3. 


if'f 


SCRIPTURS  THEMES  IN  SHAKSPEARE 


ai3 


REDEMPTION— ATONEMENT 

Now,  by  the  death  of  Him  that  died  for  all.   //  Hen.  VI.  i:  i. 

...  to  renounce  his  baptism 
AH  seals  and  symbols  of  redeemed  sin.    Othello  2:3. 

Why,  all  the  souls  that  were  forfeit  once; 
And  He  that  might  the  vantage  best  have  took 
Found  out  the  remedy.   Meas.  for  Meas.  2:2. 

As  surely  as  miy  soul  intends  to  live 

With  that  dread  king,  that  took  our  state  upon  him 

To  free  us  from  his  Father's  wrathful  curse.    //  Hen.  VI.  3:2. 

I  charge  you  as  you  hope  to  have  redemption 

By  Christ's  dear  blood,  shed  for  our  grievous  sins 

That  you  depart  and  lay  no  hands  upon  me.    Rich.  III.  i:  4. 

Renowned  for  their  needs  as  far  from  hon.  , 

(For  Christian  service,  and  true  chivalry,) 

As  is  the  sepulchre  in  stubborn  Jewry 

Of  the  world's  ransom,  blessed  Mary's  son.  Rich.  II.  2:  i. 

I  every  day  expect  an  embassage 

From  my  Redeemer  to  redeem  me  hence ; 

And  more  to  peace  my  soul  shall  part  to  heaven, 

Since  I  have  made  my  friends  at  peace  on  earth.   Rich.  III.  2:  i. 

XSee  also  Shakspeare's  Will.) 


I 


if 


W^-' 


it4 


SCRIPTURE  THEMES  IN        aKSPBARB 


RELIGIOUS  VOWS  AND  OATHS 

Religious  canons,  civil  laws  are  cruel.    Timon  4:3. 

He  heard  him  swear  and  vow  to  God.    /  Hen.  IV.  4:3. 

Unheedful  vows  may  heedfuUy  be  broken.    Two  Gent,  z:  6. 

—With  the  divine  forfeit  of  his  soul  upon  oath.   All's  Well  3: 6. 

'Tis  deadly  sin  to  keep  that  oath 
And  sin  to  break  it.    Love's  Labor  z:  i. 

An  oath,  an  oath,  I  have  an  oath  in  heaven: 

Shall  I  lay  perjury  on  my  soul?    Mer.  of  Ven.  4:1. 


A       He  hath  given  countenance  to  his  speech 
♦      With  almost  all  the  holy  vows  of  Heav« 


Heaven.   Ham.  1:3. 

— ^Having  sworn  too  hard-a-keeping  oath 

Study  to  break  it,  and  not  break  my  troth.  Lovt^s  Labor  t:  t. 

And  by  our  holy  Sabbath  have  I  sworn 

To  have  the  due  and  perfect  of  my  bond.    Mer.  of  Ven.  4: 1. 

.  .  .  hold  your  vow. 
Nor  God,  nor  I,  delights  in  perjured  men.    Lov^s  Labor  5:  z. 

...  Do  not  break  your  oaths ;  for  of  that  sin 

My  mild  entreaty  shall  not  make  you  guilty.   ///  Hen.  VL  3:  t. 

And  cracking  the  strong  warrant  of  an  oath, 

Mark'd  with  a  blot,  damn'd  in  the  book  of  Heaven.    Rich.  U.  4: 1. 

It  is  the  purpose  that  makes  strong  the  vow 

But  vows  to  every  purpose  must  not  hold.    Trot,  and  Ores.  5:3. 

By  God's  will!  .  .  . 

By  Him  that  made  me,  I'll  matntoin  my  words 

On  any  plot  of  ground  in  Christendom.   /  Hen.  VL  z:  4. 


Ml 


SCRIPTURE  THEMES  IN  SHAKSPBARE  i 

To  keep  that  oath  were  more  impiety 

Than  Jephthah's  when  he  sacrificed  his  daughter.   ///  Hen.  VI.  y.  i. 

'Tis  not  the  many  oaths  that  make  the  truth 
But  the  plain  single  vow,  that  is  vow'd  true. 
What  is  not  holy,  that  we  swear  not  by 
But  take  the  highest  to  witness.    All's  Well  4:  i. 

This,  in  the  name  of  God,  I  promise  here: 
The  wish  if  He  be  pleased  I  shall  perform. 
And  I  will  die  a  hundred  thousand  deaths 
Ere  break  the  smallest  parcel  of  this  vow.    /  Hen.  IV.  3: 2. 

Married  in  league,  coupled  and  link'd  together 
With  all  religious  strength  of  sacred  vows. 
.  .  .  O,  let  thy  vow 
First  make  to  heaven,  first  be  to  heaven  perform'd. 
...  It  is  religion  that  doth  make  vows  kept 
But  thou  hast  sworn  against  religion.    King  John  3:  x. 

I  took  an  oath  that  he  should  quietly  reign. 

But  for  a  kingdom  any  oath  may  be  broken : 

I  would  break  a  thousand  oaths  to  reign  one  year. 

No;  God  forbid  your  grace  should  be  foresworn. 

...  An  oath  is  of  no  moment,  being  not  took 

Before  a  true  and  lawful  magistrate, 

Ihat  hath  authority  over  him  that  swears.    ///  Hen.  VI.  x:2. 

No,  not  an  oath :  if  rot  the  face  of  men. 
The  sufferance  of  our  souls,  the  time's  abuse, 
If  these  be  motives  weak,  break  oft"  betimes, 
And  every  man  hence  to  his  idle  bed ; 

.  .  ,  what  other  oath. 
Than  honesty  to  honesty  engag'd. 
That  this  shall  be,  or  we  will  fail  for  it? 

.  .  .  unto  bad  causes  swear 
Such  creatures  as  men  doubt ;  but  do  not  stain 
The  even  virtue  of  our  enterprise, 
Nor  th'  insupp.-essive  mettle  of  our  spirits, 
To  think  that,  or  our  cause,  or  our  performance^ 
Did  need  an  oath.    Jul.  Caesar  2:  i. 


■tK 


i-Ji 


oB  SCRIPTURE  THEMES  IN  SHAKSPBAR^ 

Canst  thou  dispense  with  Heaven  for  such  an  oath  ? 

It  is  a  great  sin  to  swear  unto  a  sin, 

But  greater  sin  to  keep  a  sinful  oath. 

Who  can  be  bound  by  any  solemn  vow 

To  do  a  murderous  deed,  to  rob  a  man, 

To  force  a  spotless  virgin's  chastity, 

To  reave  the  orphan  of  his  patrimony. 

To  wring  the  widow  from  her  custom'd  right. 

And  have  no  other  reason  for  this  wrong, 

But  that  he  was  bound  by  a  solemn  oath  ?   //  Hen.  VL  5:  /. 

Heaven's  wrong  is  most  of  all. 
If  thou  didst  fear  to  break  an  oath  with  him. 
The  unity,  the  king  my  husband  made 
Thou  had'st  not  broken,  nor  my  brothers  died. 
If  thou  had'st  fear'd  to  break  an  oath  by  him. 
The  imperial  metal,  circling  now  thy  head. 
Had  grac'd  the  tender  temples  of  my  child ; 
And  both  the  princes  had  been  breathing  here. 
Which  now,  two  tender  bed-fellows  for  dust, 
Thy  broken  faith  hath  made  the  prey  for  worms. 
What  canst  thou  swear  by  now  ?    Rich.  III.  4;  4. 

Luc.  Whom  should  I  swear  by  ?  thou  believ'st  no  God 
That  granted,  how  canst  thou  believe  an  oath  ? 

Aar.  What  if  I  do  not,  as  indeed,  I  do  not; 
Yet,  for  I  know  thou  art  religious. 
And  hast  a  thing  within  thee,  called  conscience, 
.  .  .  Therefore  I  urge  thy  oath : — for  that,  I  know. 
An  idiot  holds  his  bauble  for  a  God, 
And  keeps  the  oath  which  by  that  God  he  swears. 
To  that  I'll  urge  him. — Therefore,  thou  shalt  vow 
By  that  same  God,  what  God  soe'er  it  be. 
That  thou  ador'st  and  hast  in  reverence. 

Luc.  Even  by  my  God  I  swear  to  thee,  I  will.    Titus  And.  '$:i. 


It 


SCRIPTURE  THEMES  IN  SHAKSPEARS 


RELIGIOUS  OBSERVANCE— WORSHIP 

You  shall  not  only  take  the  sacrament.    Ricn.  II.  4:  z. 

Go  bid  the  priests  do  present  sacrifice.    Jul.  Caesar  2: 2, 

As  we  have  taken  the  sacrament, 
We  will  unite  the  white  rose  and  the  red.    Rich.  III.  5: 4. 

When  holy  and  devout  religious  men 

Are  at  their  beads,  'tis  much  to  draw  them  thence ; 

So  sweet  is  zealous  contemplation.    Rich.  III.  3: 7. 

Came  to  the  altar :  where  she  kneel'd,  and,  saint-like. 
Cast  her  fair  eye  to  heaven,  and  pray'd  devoutly. 

the  choir, 

With  all  the  choicest  music  of  the  kingdom. 
Together  sung  Te  Deum.    Hen.  VIII.  4:1. 

True  is  it  that  we  have  seen  better  days ; 
And  have  with  holy  bell  been  knoll'd  to  church; 
.  .  .  and  wip'd  our  eyes 
Of  drops  that  sacred  pity  hath  engender 'd.     (See  Man.) 

As  You  Like  It  2:/. 

Stoop  boys :  this  gate 
Instructs  you  how  t'  adore  the  heavens,  and  bows  you 
To  a  morning's  holy  office :  the  gates  of  monarchs 
Are  arch'd  so  high,  that  giants  may  jet  through 
And  keep  their  impious  turbands  on,  without 
Good-morrow  to  the  sun.— Hail,  thou  fair  heaven ! 
We  house  i'  the  rock Hail,  Heaven  1    Cymb.  3:3. 

Hanging  a  golden  stamp  about  their  necks, 

Put  on  with  holy  prayers :  and  'tis  spoken 

To  the  succeeding  royalty  he  leaves 

The  healing  benediction.    With  this  strange  virtue 

He  hath  a  heavenly  gift  of  prophecy.    Macb.  4:3- 


«•  SCRIPTURE  THEMES  IN  SHAKSPSAR8 

Win.  He  was  a  king,  bless'd  of  the  King  of  kings. 
Unto  the  French  the  dreadful  judgment  day 
So  dreadful  will  not  be,  as  was  his  sight. 
The  battles  of  the  Lord  of  hosts  he  fought : 
The  church's  prayers  made  him  so  prosperous. 

Glo.  The  church!  where  is  it?    Had  not  churchmen  pray'd. 
His  thread  of  life  had  not  so  soon  decay'd :  .  .  . 

Win.  Thy  wife  is  proud;  she  holdeth  thee  in  awe, 
More  than  God,  or  religious  churchmen  may. 

Glo.  Name  not  religion,  for  thou  lov'st  the  flesh ; 
And  ne'er  throughout  the  year  to  church  thou  go'st, 
Except  it  be  to  pray  against  thy  foes.   /  Hen.  VI.  i:  z. 


RELIGIOUSBELIEFS— PRACTICES— SUPERSTITIONS 

This  hand  of  yours  requires 
A  sequester  for  liberty,  fasting  and  prayer. 
Much  castigation,  exercise  devout.    Othello  3:4. 

That  is  a  fair  young  maid  that  yet  wants  baptism. 
You  must  be  godfather  and  answer  for  her. 

...  I  long 
To  have  this  young  one  made  a  Christian.    Hen.  VUI.  $:». 

God  in  Heaven  forbid 
We  should  infringe  the  holy  privilege 
Of  blessed  sanctuary!  not  for  all  this  land 
Would  I  be  guilty  of  so  great  a  sin.    Rich.  HI.  3:  i. 

Here's  a  prophet,  that  I  brought  with  me 

From  forth  the  streets  of  Pomfret,  whom  I  found 

With  many  hundreds  treading  on  his  heels ; 

To  whom  he  sung,  in  rude  harsh-sounding  rliymes. 

That  ere  the  next  Ascension-day  at  noon. 

Your  highness  should  deliver  up  your  crown.  ... 

Is  this  Ascension-day  ?    Did  not  the  prophet 

Say  that  before  Ascension-day  at  noon, 

My  crown  I  should  give  off?    Even  so  I  have. 

I  did  suppose  it  should  be  on  constraint; 

But,  heaven  be  thank'd,  it  is  but  voluntary.    King  John  4:2;  5:1. 


SCRIPTURE  THEMES  IN  SHAKSPBARB 

...  All  his  mind  is  bent  to  holiness, 

To  number  Ave-Marias  on  his  beads: 

His  champions  are  the  prophets  and  apostles; 

His  weapons,  holy  saws  of  sacred  writ; 

His  study  is  his  tilt-yard,  and  his  loves 

Are  brazen  images  of  canoniz'd  saints. 

I  would,  the  colleges  of  the  cardinals 

Would  choose  him  pope,  and  carry  him  to  Rome, 

And  set  the  triple  crown  upon  his  head: 

That  were  a  stote  fit  for  his  holiness.    //  Hen.  VI.  1:3. 

Heaven  and  our  gracious  Lady  hath  it  pleas'd 
To  shine  on  my  contemptible  estate :  .  .  . 
God's  mother  deigned  to  appear  to  me ; 
And,  in  a  vision  full  of  majesty, 
Will'd  me  to  leave  my  base  vocation, 
And  free  my  country  from  calamity. 

Stay,  suy  thy  hands  t  thou  art  an  Amazon, 
And  fightest  with  the  sword  of  Deborah. 
Christ's  mother  helps  me,  else  I  were  too  weak. 


Was  Mahomet  inspired  with  a  dove? 
Thou  with  an  eagle  art  inspired,  then. 
Helen,  the  mother  of  great  Constantine, 
Nor  yet  St.  Philip's  daughters  were  like  thee. 


I  Hen.  VI.  x:i. 


1  Go.  Is  she  to  be  buried  in  Christian  burial,  that  wilfully  seeks 
her  own  salvation? 

2  Clo.  I  tell  thee,  she  is;  and  therefore  make  her  grave  straight: 
the  crowner  hath  set  on  her,  and  finds  it  Christian  burial. 

/  Clo.  How  can  that  be,  unless  she  drowned  herself  in  her  own 
defence? 

2  Clo.  Why,  'tis  found  so. 

/  Clo.  It  must  be  se  offendendo;  it  cannot  be  else.  For  here  lies 
the  point:  if  I  drown  myself  wittingly,  it  argues  an  act,  and  an  act 
hath  three  branches;  it  is,  to  act,  to  do,  and  to  perform:  argal,  she 
drowned  herself  wittingly. 

2  Clo.  Nay,  but  hear  you,  goodman  delver. 

/  Clo.  Give  me  leave.  Here  lies  the  water ;  good :  here  stands  the 
man ;  good :  if  the  man  go  to  this  water,  and  drown  himself,  it  is,  will 


I  • 

I 


«^ 


1 1 4.  i 


mm  SCRIPTURE  THEMES  IN  SHAKSPBARS 

he.  nil!  he.  he  goes ;  mark  you  that  ?  but  if  the  water  come  to  him.  and 
drown  him.  he  drowns  not  himself:  argal.  he  that  is  not  guilty  of  his 
own  death  shortens  not  his  own  life. 

^  do.  But  is  this  law? 

/  Clo.  Ay.  marry,  is't ;  crowner's  quest-law. 

^  Clo.  Will  you  a'  the  truth  on't?  If  this  had  not  been  a  gentle- 
woman, she  should  have  been  buried  out  of  Christian  burial. 

/  Clo.  Why,  there  thou  say'st;  and  the  more  pity,  that  great  folk 
should  have  countenance  in  this  world  to  drown  or  hang  themselves, 
more  than  their  even  christian.  Come,  my  spade.  There  is  no  ancient 
gentlemen  but  gardeners,  ditchers,  and  grave-makers;  they  hold  up 
Adam's  profession. 

^  Clo.  Was  he  a  gentleman? 

/  Clo.  He  was  the  first  that  ever  bore  arms. 

2  Clo.  Why,  he  had  none. 

t  Clo.  What,  art  a  heathen  ?  How  dost  thou  understand  the  Scrip- 
ture? The  Scripture  says,  Adam  digged:  could  he  dig  without 
arms?    .... 

.  .  .  r  Priest.  Her  obsequies  have  been  as  far  enlarg'd 
As  we  have  warranty:  her  death  was  doubtful; 
And,  but  that  gmt  command  o'ersways  the  order. 
She  should  in  ground  unsanctified  have  lodg'd. 
Till  the  last  trumpet;  for  charitable  prayers, 
Shards,  flints,  and  pebbles,  should  be  thrown  on  her. 
Yet  here  she  is  allow'd  her  virgin  rites, 
Her  maiden  strewments,  and  the  bringing  home 
Of  bell  and  burial. 

Laer.  Must  there  no  more  be  done? 

I  Priest.  No  more  be  done. 

We  should  profane  the  service  of  the  dead. 
To  sing  sage  requiem,  and  such  rest  to  her 
As  to  peace-parted  souls.    Ham.  5;/. 


SCRIPTURB  THUMBS  IN  SHAKSPBAR^ 


REMORSE    (.'nCoNSCiiNCi) 

The  urging  of  that  word,  judgment,  hath  bred  a  kind  of  remorse  in 
ne.     Rich.  III.  i:  4. 

Unnatural  deeds 
Do  breed  unnatural  troubles:    Infected  minds 
To  their  deaf  pillows  will  discharge  their  secrets. 
More  needs  she  the  divine  than  the  physician.    Macb.  5;  /. 


Yet  here's  a  spot. 
Out,  damned  spot!  out,  I  say!  ...  . 
Here's  the  smell  of  blood  still :  all  the  perfumes 
Of  Arabia  will  not  sweeten  this  little  hand.    Oh  I 


oh!  ohl 

Macb.  5:  /. 


That  cardinal  Beaufort  is  at  point  of  death; 

For  suddenly  a  grievous  sickness  took  him, 

That  makes  him  gasp,  and  stare,  and  catch  the  air, 

Blaspheming  God,  and  cursing  men  on  earth. 

Sometime  he  talks  as  if  duke  Humphrey's  ghost 

Were  by  his  side;  sometime  he  calls  the  king, 

And  whispers  to  his  pillow,  as  to  him, 

The  secrets  of  his  overcharge  soul.     //  Hen.  VI.  3:2. 

Better  be  with  the  dead, 
Whom  we  to  gain  our  peace  have  sent  to  peace, 
Than  on  the  torture  of  the  mind  to  lie 
In  restless  ecstasy.    Duncan  is  in  his  grave; 
After  life's  fitful  fever,  he  sleeps  well ; 
Treason  has  done  his  worst:  nor  steel,  nor  poison. 
Malice  domestic,  foreign  levy,  nothing 
Can  touch  him  further!      Macb.  3:2. 


....  Make  thick  my  blood 
Stop  up  th'  access  and  passage  to  remorse; 
That  no  compunctious  visitings  of  nature 
Shake  my  fell  purpose,  nor  keep  peace  between 
Th'  effect  and  it.    Come  to  my  woman's  breasts, 
And  take  my  milk  for  gall,  you  murdering  ministers, 


'i'J. 


am  SCRIPTVRB  THEMES  IN  SHAKSPBARB 

Wherever  in  your  aightleu  lubttancet 
You  wait  on  nature's  miKhief.    Come,  thick  night, 
And  pan  thee  in  the  dunnett  smoke  of  hell  I 
That  my  keen  knife  lee  not  the  wound  it  make* ; 
Nor  heaven  peep  through  the  blankneu  of  the  dark, 
To  cry,  "Hold,  hold  I"     Atacb.  1:3. 

Where  should  Othello  go?— 
Now,  how  dost  thou  look  now?    O  ill-starr'd  wench  I 
Pale  as  thy  smock  I  when  we  shall  meet  at  compt, 
This  look  of  thine  will  hurl  my  soul  from  heaven. 
And  fiends  will  snatch  at  it.    Cold,  cold,  my  girl ; 
Even  like  thy  chastity. — 
O,  cursed,  cursed  slave ! — Whip  me,  ye  devils, 
From  the  possession  of  this  heavenly  sight ! 
Blow  me  about  ii   winds  i  roast  me  in  sulphur ! 
Wash  me  in  steep-down  gulfs  of  liquid  fire ! 
O  Desdemona  I  dead  Desdemona  I  dead.    Oh,  oh  1      OtheUo  5:  /.  ] 

You  are  three  men  of  sin,  whom  destiny 

(That  hath  to  instrument  this  lower  world,  ^ 

And  what  is  in't)  the  never-surfeited  sea 

Hath  caused  to  belch  up,  and  on  this  island 

Where  man  doth  not  inhabit;  you  'mongst  men 

Being  most  unfit  to  live 

O,  it  is  monstrous!  monstrous t 
Methought,  the  billows  spoke,  and  told  me  of  it;  , 

The  winds  did  sing  it  to  me;  and  the  thunder. 
That  deep  and  dreadful  organ-pipe,  pronounc'd 
The  name  of  Prosper :  it  did  base  my  trepass. 

.  .  .  their  great  guilt 
Like  poison  given  to  work  a  great  time  after. 
Now  'gins  to  bite  the  spirits.      Tempest  j;  j. 


What  if  this  cursed  hand 
Were  thicker  than  itself  with  brother's  blood, 
Is  there  not  rain  enough  in  the  swee-  heavens, 
To  wash  it  white  as  snow?    Whereto  serves  mercy. 
But  to  confront  the  visage  of  offence? 
And  what's  in  prayer,  but  this  two-fold  force, — 
To  be  forestalled,  ere  we  come  to  fall, 


V 


[I 


SCRIPTURE  THBMBS  IS  SHAKSPEARS 

Or  pardon'd,  being  down?    Then,  I'll  look  up: 

My  fault  U  pMt    But,  Of  what  form  of  prayer 

Can  aerve  my  turn?    Forgive  me  my  foul  murder  1— 

That  cannot  me;  since  I  am  ttill  posaeu'd 

Of  those  effects  for  which  I  did  the  murder, 

My  crown,  mine  own  ambition,  and  my  queen. 

May  one  be  pardon'd,  and  retain  th'  offence? 

In  the  corrupted  currents  of  this  world. 

Offence's  gilded  hand  may  shove  by  justice; 

And  oft  'tis  seen,  the  wicked  prize  itself 

Buys  out  the  law :   But  'tis  not  so  above.    Ham.  3:  j. 

Have  mercy  Jesu  I— Soft ;  I  did  but  dream. 

O,  coward  conscience,  how  dost  thou  afflict  me  I— 

The  light  bums  blue. — It  is  now  dead  midnight. 

Cold  fearful  drops  stand  on  my  trembling  flesh. 

What  do  I  fear?  myself?  there's  none  else  by: 

Richard  loves  Richard ;  that  is,  I  am  I. 

Is  there  a  murderer  here  ?    No ; — yes ;  I  am : 

Then  fly, — What,  from  myself?    Great  reason:  why? 

Lest  I  levenge.    Whatl  Myself  upon  myself? 

Alack  I    I  love  myself.    Wherefore  ?  for  any  good. 

That  I  myself  have  done  unto  myself? 

0!  no:  alas!    I  rather  hate  myself. 

For  hateful  deeds  committed  by  myself. 

I  am  a  villain.    Yet  I  lie;  I  am  not. 

Fool,  of  thyself  speak  well: — Fool,  do  not  flatter: 

My  conscience  hath  a  thousand  several  tongues, 

And  every  tongue  brings  in  a  sevr'-al  talc, 

And  every  tale  condemns  me  for  &  /illain. 

Perjury,  foul  perjury,  in  the  liigh'st  degree; 

Murder,  stem  murder,  in  the  dir'st  degree: 

All  several  sins,  all  us'd  in  each  degree. 

Throng  to  the  bar,  crying  all,— Guilty !  guilty ! 

I  shall  despair. — There  is  no  creature  loves  me; 

And  if  I  die,  no  soul  shall  pity  me : — 

Nay,  wherefore  should  they?  since  that  I  myself 

Find  in  myself  no  pity  to  myself. 

Methought,  the  souls  of  all  that  I  had  murder'd 

Came  to  my  tent ;  and  every  one  did  threat 

To-morrow's  vengeance  on  the  head  of  Richard.    Rich.  III.  $:  $. 


ii  ll 


it 


SCRIPTURE  THEMES  IN  SHAKSPEARB 

REPENTANCE— PENITENCE 

Wo^  that  too  late  repents  i     King  Lear  i:  4. 

God  of  his  mercy,  give  you  .  .  .  true  repentance.    Hen,  V.  it ». 

Is't  enough  I  am  sorry?  .  .  . 
Must  I  repent?      Cymb.  5:4. 

I  do  repent  me  as  it  is  an  evil 

And  like  the  shame  with  joy.   Meas.  for  Meas.  2:3. 

Men  shall  deal  unadvisedly  sometimes, 

Which  after-hours  give  leisure  to  repent    RicK  III.  4: 4. 

Our  purposes  God  justly  hath  discover'd ; 

And  I  repent  my  fault  more  than  my  death.    Hen.  V.  2:2. 

The  breath  of  heaven  hath  blown  his  spirit  out, 

And  strew'd  repentant  ashes  on  his  head.    King  John  4:  i. 

I  repent.    There  is  no  sure  foundation  set  on  blood ; 

No  certain  life  achiev'd  by  other's  death.    King  John  4:2. 

Fear,  and  not  love,  begets  bis  penitence. 

Forget  to  pity  him,  lest  thy  pity  prove 

A  serpent  that  will  sting  thee  to  the  heart    Rich.  II.  5:3. 

iWho  by  repentance  is  not  satisfied 

Is  not  of  heaven,  nor  earth ;  for  these  are  pleas'd ; 

By  penitence  the  Eternal's  wrath's  appeased.    Two  Gent  5: 4. 

T  I'll  teach  you  how  you  shall  arraign  your  conscience. 

And  try  your  penitence,  if  it  be  sound, 
Or  hollowly  put  on.  .  .  .  but  lest  you  do  repent. 
As  that  the  sin  hath  brought  you  to  this  shame ; 
iWhich  sorrow  is  always  toward  ourselves,  not  heaven; 
Showing,  we  would  not  serve  heaven,  as  we  love  it. 
But  as  we  stand  in  fear.     Meas.  for  Meas.  2:g, 


i 


SCRIPTURE  THEMES  IN  SHAKSPEARB 

I  am  sorry  that  such  sorrow  I  procure : 

And  so  deep  sticks  it  in  my  penitent  heart. 

That  I  crave  death  more  willingly  than  mercy 

Tis  my  deserving,  and  I  do  entreat  it.    Meas.  for  Meas.  5:  t. 

Try  what  repentance  can:  what  can  it  not?  »       ' 

Yet  what  can  it,  when  one  cannot  repent  ? 
O  wretched  state !    G  bosom,  black  as  death ! 
O  limed  soul,  that  struggling  to  be  free. 
Art  more  engaged!      Ham.  3:3. 

The  breath  no  sooner  left  his  father's  body 
But  that  his  wildness,  mortified  in  him, 
Seem'd  to  die  too:  yea,  at  that  very  moment, 
Consideration  like  an  angel  came, 
And  whipp'd  the  offending  Adam  out  of  him; 
Leaving  his  body  as  a  paradise.    Hen.  V.  i:  i. 

You  .  .  .  have  perform'd 
A  saint-like  sorrow ;  no  fault  could  you  make 
Which  you  have  not  redeem 'd;  indeed,  paid  down 
More  penitence  than  done  trespass!    At  the  last 
Do,  as  the  Heavens  have  done ;  forget  your  evil ; 
With  them,  forgive  yourself.     Winter's  Tale  5:  /. 

.  .  .  Full  of  repentance, 
Continual  meditations,  tears  and  sorrows : 
He  gave  his  honors  to  the  world  again, 
His  blessed  part  to  heaven,  and  slept  in  peace.  .  .  . 
And  to  add  greater  honors  to  his  age 
Than  man  could  give,  he  died  fearing  God.    Hen.  VHI.  '4:2. 


MS 


Mother,  for  love  of  grace. 
Lay  not  that  flattering  unction  to  your  soul. 
That  not  your  trespass,  but  my  madness  speaks: 
It  will  but  skin  and  film  the  ulcerous  place, 
Whilst  rank  corruption,  mining  all  within, 
Infects  unseen.    Confess  yourself  to  heaven? 
Repent  what's  past ;  avoid  what  is  to  come ; 
IS 


mti  SCRIPTURE  THEMES  IN  SHAKSPBARS 

And  do  not  spread  the  compost  on  the  weeds. 

To  make  them  ranker.    Forgive  me  this  my  virtue ; 

For  in  the  fatness  of  these  pursy  times, 

Virtue  itself  of  vice  must  pardon  beg; 

Yes,  curb  and  woo,  for  leave  to  do  him  good.    Ham.  3:4. 

0  Lord  1 — O I  not  to-day,  think  not  upon  the  fault 
My  father  made  in  compassing  the  crown. 

1  Richard's  body  have  interred  new. 

And  on  it  have  bestow'd  more  contrite  tears. 
Than  from  it  issued  forced  drops  of  blood. 
Five  hundred  poor  I  have  in  yearly  pay, 
Who  twice  a  day  their  wither'd  hands  hold  up 
Toward  heaven,  to  pardon  blood ;  and  I  have  built 
Two  chantries,  where  the  sad  and  solemn  priests 
Sing  still  for  Richard's  soul.    More  will  I  do; 
Though  all  that  I  can  do  is  nothing  worth. 
Since  that  my  penitence  comes  after  all. 
Imploring  pardon.    Hen.  V.  4:  i. 

Well  I'll  repent,  and  that  suddenly,  while  I  am  m  some  liking;  I 
shall  be  out  of  heart  shortly,  and  then  I  shall  have  no  strength  to 
repent.  And  I  have  not  forgotten  what  the  inside  of  a  church  is  made 
of,  I  am  a  peppercorn,  a  brewer's  horse:  the  inside  of  a  church! 
Company,  villainous  company,  hath  been  the  spoil  of  me. 

/  Hen.  IV.  3:3. 


REVENGE— CURSES— HATE 

If  you  will  have  revenge  from  hell  you  shall.    Titus  And.  4: 3. 

Can  curses  pierce  the  clouds,  and  enter  heaven?    Rich.  III.  1:3. 

Hope  of  revenge  shall  hide  our  inward  woe.    Troi.  a-.ni  Cress.  s:ii. 

Can  vengeance  be  pursu'd  further  than  death?    Rom.  and  Jul.  '3:3 

I  am  Revenge,  sent  from  the  infernal  Kingdom 

To  ease  the  gnawing  vulture  of  thy  mind. 

By  working  wreakful  vengeance  on  thy  foes.    Titus  And.  '5:2, 


SCRIPTURE  THEMES  IN  SHAKSPEARE 

Curses  never  pass 
The  lips  of  those  that  breathe  them  in  the  air.    Rich.  III.  i:  3. 

Vengeance  is  in  my  heart,  death  in  my  hand, 

Blood  and  revenge  are  hammering  in  my  head.    Titus  And.  2:3. 

Beyond  the  infinite  and  boundless  reach 
Of  mercy,  if  thou  didst  this  deed  of  death. 
Art  thou  damn'd.      King  John  4: 3. 

Heaven's  is  the  quarrel;  .  .  . 

Let  heaven  revenge :  for  I  may  never  lift 

An  angry  arm  against  his  minister.    Rich.  II.  z:  2. 

To  see  this  sight,  it  irks  mv  very  soul. 

Withold  revenge,  dear  Goof  'tis  not  my  fault. 

Nor  wittingly  have  I  infring'd  my  vow.    ///  Hen.  VI.  2:2. 

.  .  .  Revenge  upon  you  all 
And  in  that  hope  I  throw  mine  eyes  to  heaven 
Scorning  whate'er  you  can  afflict  me  with.    ///  Hen.  VI.  i:  4. 

The  guilt  of  conscience  take  thou  for  thy  labor, 
But  neither  my  good  word,  nor  princely  favor : 
With  Cain  go  wander  through  the  shade  of  night, 
And  never  shew  thy  head  by  day  nor  light.    Rich  II.  5;  6. 

Avaunt,  thou  dreadful  minister  of  hell! 

Thou  hadst  but  power  over  this  mortal  body.  .  .  . 

Foul  devil,  for  God's  sake,  hence,  and  trouble  us  not ; 

For  thou  hast  made  the  happy  earth  thy  hell.   Rich.  III.  1:2. 

O  God,  which  this  blood  mad'st,  revenge  his  death ! 
O  earth,  which  this  blood  drink'st,  revenge  his  death! 
Either,  Heaven,  with  lightning  strike  the  murderer  dead ; 
Or  earth,  gape  open  wide  and  eat  him  quick.    Rich.  III.  i:  2. 

Here  on  my  knees  I  vow  to  God  above, 

I'll  never  pause  again,  never  stand  still. 

Till  either  death  hath  clos'd  these  eyes  of  mine, 

Or  fortune  given  me  a  measure  of  revenge.    ///  Hen.  VI.  2:3, 


«7 


i  i 


ii 


.  1     .-n^ar*--  SSS:: 


aaS  SCRIPTURE  THEMES  IN  SHAKSPBARB 

Not  on  thy  sole,  but  on  thy  soul,  harsh  Jew, 

Thou  mak'st  thy  knife  keen;  but  no  metal  can, 

No,  not  the  hangman's  axe,  bear  half  the  keeimess 

Of  thy  sharp  envy.    Can  no  prayers  pierce  thee  ?   Mer.  of  Ven.  4:  i. 

Curs'd  be  that  heart  that  forc'd  us  to  this  shift! 

Write  thou,  good  niece,  and  here  display  at  last. 

What  God  will  have  discover'd  for  revenge. 

Heaven  guide  thy  pen  to  print  thy  sorrows  plain. 

That  we  may  know  the  traitors  and  the  t'-uth.    Titus  And.  4:  i. 

And  by  our  holy  Sabbath  have  I  sworn. 
To  have  the  due  and  forfeit  of  my  bond : 
You'll  ask  me,  why  I  rather  choose  to  have 
A  weight  of  carrion  flesh,  than  to  receive 
Three  thousand  ducats:    I'll  not  answer  that: 
But,  say,  it  is  my  humor.    Mer.  of  Ven.  4:  i. 

O  villains,  vipers,  damn'd  without  redemption! 
Dogs,  easily  won  to  fawn  on  any  man ! 
Snakes,  in  my  heart-blood  warm'd,  that  sting  my  heart! 
Three  Judases,  each  one  thrice  worse  than  Judas ! 
Would  they  make  peace?  terrible  hell  make  war 
Upon  their  spotted  souls  for  this  offence.    Rich.  II.  j;  ^. 

Thou  shalt  stand  curs'd,  and  excommunicate 
And  blessed  shall  he  be,  that  doth  revolt 
From  his  allegiance  to  an  heretic ; 
And  meritorious  shall  that  hand  be  call'd. 
Canonized  and  worship'd  as  a  saint. 
That  takes  away  by  any  secret  course 
Thy  hateful  life.    King  John  j;  /. 

If  heaven  have  any  grievous  plague  in  store, 

Exceeding  those  that  I  can  wish  upon  thee, 

O !  let  them  keep  it,  till  thy  sins  be  ripe. 

And  then  hurl  down  their  indignation 

On  thee,  the  troubler  of  the  poor  world's  peace ! 

The  worm  of  conscience  still  be-gnaw  thy  soul ! 

Thy  friends  suspect  for  traitors  while  thou  liv'st. 

And  take  deep  traitors  for  thy  dearest  friends!    Rich.  III.  1:3. 


SCRIPTURE  THEMES  IN  SHAKSPEARB  a^ 

Now  might  I  do  it,  pat,  now  he  is  praying;  i/* 

And  now  111  do  't:— and  so  he  goes  to  heaven. 
And  lo  am  I  reveng'd?    That  would  be  scann'd: 
A  villain  kills  my  father;  and  for  that, 
I,  his  sole  son,  do  this  same  villain  send  to  heaven. 
Why,  this  is  hire  and  salary,  not  revenge. 
He  took  my  father  grossly,  full  of  bread ; 
With  all  his  crimes  broad  blown,  as  fresh  as  May, 
And  how  his  audit  stands,  who  knows,  save  heaven? 
But,  in  our  circumstance  and  course  of  thought, 
'Tis  heavy  with  him ;  and  am  I  then  reveng'd. 
To  take  him  in  the  purging  of  his  soul. 
When  he  is  fit  and  season'd  for  his  passage?— No. 
Up,  sword;  and  know  thou  a  more  horrid  bent 
When  he  is  drunk,  asleep,  or  in  his  rage; 
Or  in  th'  incestuous  pleasures  of  his  bed ; 
At  gaming,  swearing;  or  about  some  act. 
That  has  no  relish  of  salvation  in  't ; 
Then  trip  him,  that  his  heels  may  kick  at  heaven, 
And  that  his  soul  may  be  as  damn'd,  and  black, 
As  hell,  whereto  it  goes.    Ham.  3:3. 

If  it  will  feed  nothing  else  it  will  feed  my  revenge.  .  .  If  you  wrong 
us,  shall  we  not  revenge?  ...  If  a  Jew  wrong  a  Christian,  what 
is  his  humility?  revenge:  If  a  Christian  wrong  a  Jew,  what  should  his 
suflferance  be  by  Christim  ^-xample?  why,  revenge.    Mer.  of  Ven.  3.1. 


SALVATION 

Relent,  and  save  your  souls.     Rich.  III.  i:  4. 

In  the  course  of  justice,  none  of  us 
Should  see  salvation.    Mer.  of  Ven.  4:  i. 

Heaven's  above  all,  and  there  be  souls  must  be 

Saved,  and  there  be  souls  must  not  be  saved.      Othello  a:  9. 

As  surely  as  my  soul  intends  to  live 

With  that  dread  King,  that  took  our  state  upon  bun 

To  free  us  from  his  Father's  wrathful  curse.    //  Hen.  VI.  3:2. 


VP 


SCRIPTURE  THEMES  IN  SHAKSPBARE 


—It  were  pity  but  they  should  suffer  salvation,  body  and  souL 

Much  Ado  s- 3- 

The  Means  tiiat  lieaven  yields  must  be  embrac'd 

And  not  neglected ;  else  if  heaven  would, 

And  we  will  not,  heaven's  offer  we  refuse.   Rich.  II.  3: 9. 


m 


r  r. 


SATAN— DEVIL 

Th'  eternal  Devil  to  keep  his  state,    lul.  Caesar  i:  -». 

No  man  means  evil  but  the  devil.    Merry  Wives  5:  i. 

By  the  devil's  illusions  the  monk  might  be  deceiv'd.    Hen.  VIII.  i:  2. 

There  is  a  good  angel  about  him ;  but  the  devil  outbids  him  too. 

II  Hen.  IV.  2: 4. 

Let  me  say  Amen  betimes,  lest  the  devil  cross  my  prayer. 

Mer.  of  Ven.  y.  i. 

Nay,  if  the  devil  have  given  thee  proof  for  sin 
Thou  wilt  prove  his.    Meas.  for  Meas.  3: 2. 

The  black  prince,  alias,  the  prince  of  darkness ; 
Alias,  the  devil.    All's  Well  4: 5. 

An  angel  is  not  evil ; 
I  should  have  fear'd  her  had  she  been  a  devil.    Lov^s  Labor  5:2. 

.  .  .  Let  the  devil 
Be  sometime  honor'd  for  his  burning  throne.    Meas.  for  Meas.  5:  T. 

.  .  .  Shame  the  devil. 
By  telling  truth ;  Tell  truth,  and  shame  the  devil.    /  Hen.  IV.  3:1. 

.  .  .  Are  you  a  man? 
Ay,  and  a  bold  one,  that  dare  look  on  that  which  might  appal  the 
devil.    Macb.  j:  4. 


SCRIPTURE  THEMES  IN  SHAKSPEARS 


vn 


m  call  for  clubs,  if  you  will  not  away: — 
Thia  cardinal  is  no  more  haughty  than  the  devil. 


I  Hen.  VI.  1:3. 


'  No,  he's  in  Tartar  limbo,  worse  than  hell 

A  devil  in  an  everlasting  garment  hath  him  fell, 
One  whose  hard  heart  is  button'd  up  with  steel; 
Who  knows  no  touch  of  mercy ;  cannot  feel, 
A  fiend,  a  fury,  pitiless  and  rough ; 
A  wolf,  nay,  worse,  a  fellow  all  in  buff; 
A  back-friend,  a  shoulder-clapper,  one  that  countermands 
The  passages  and  alleys,  creeks  and  narrow  lands: 
A  hound  that  runs  counter,  and  yet  draws  dry-foot  well; 
One  that,  befwe  the  judgment,  carries  poor  souls  to  hell. 

Com.  of  Err.  4:2. 

I  would  it  were  hell-pains  for  thy  sake,  and  my  poor  doing  eternal: 

.  .     .  he  is  my  good  lord;  whom  I  serve  above  is  my  master. 
Who?    God? 
Ay,  sir. 
The  devil  it  is,  that's  thy  master.    All's  Well  2:3. 

...  How  agrees  the  devil  and  thee  about  thy  soul,  that  thou  soldest 
him?  ....  the  devil  shall  have  his  bargain;  for  he  was  never  yet  a 
breaker  of  proverbs,— he  will  give  the  devil  his  due.   /  Hen.  IV.  i:  z. 

Satan,  avoid !  I  charge  thee,  tempt  me  not  I 

Master,  is  this  mistress  Satan  ? 

It  is  the  devil. 

Nay,  she  is  worse,  she  is  the  devil's  dam;  ...  It  is  written,  they 
appear  to  men  like  angels  of  light:  light  is  an  effect  of  fire,  and 
fire  will  bum.  .  .  .  Marry,  he  must  have  a  long  spoon  that  must 
eat  with  the  devil.  .  .  . 

I  charge  thee,  Satan,  hous'd  within  this  man, 

To  yield  possession  to  my  holy  prayers. 

And  to  thy  state  of  darkness  hie  thee  straight : 

I  conjure  thee  by  all  the  saints  in  heaven.    Com.  of  Err.  4:3. 


■J' 

k 


ma 


SCRJPTURS  TUBUUS  IN  SHAKSPSARB 


SCRIPTURES,  THE 

The  devil  can  cite  Scripture  for  his  purpose.    Mer.  of  Vtn.  1:3, 

How  dost  thou  understand  the  Scriptures?  \/ 

The  Scripture  says,  Adam  digged.    Ham.  5;  /. 

His  champions  are  the  prophets  and  Apostles; 

His  weapons,  holy  saws  of  sacred  writ.    //  Hen.  VI.  1:3, 

Trifles,  light  as  air, 
Are  to  the  zealous  confirmation  strong 
As  proofs  of  holy  writ.    Othello  3: 3. 

The  better  sort- 
As  thoughts  of  things  divine— are  intermixed 
With  scruples,  and  do  set  forth  the  faith  itself 
Against  the  faith.'    RicK  11.  y  5. 


SIN— SINNERS 


•Y 


Think  on  thy  sins.    Othello  5;  z. 

I  know  it  is  a  sin  to  be  a  mocker.    Mer.  of  Ven.  i:  2. 

God  forgive  the  sin  of  all  those  souls.    King  John  z:  i. 

Nothing  emboldens  sin  so  much  as  mercy.    Timon.  3:$. 

Who  lives  that's  not  depraved,  or  depraves.    Timon  1:3. 

Thy  sin's  not  accidental,  but  a  trade.    Meas.  for  Meas.  3:  i. 

Forbear  to  judge,  for  we  are  sinners  all.    //  Hen.  VI.  3:3. 

...  If  the  devil  have  given  thee  proofs  for  sin.    Meas.  for  Meas.  3:  z. 


•"The  Faith  "  is  used  here  in  the  sense  of  " The  Word"    (See  Bishop  Words- 
worth  and  others.)  "^ 


SCRIPTURE  THEMES  IN  SHAKSPEARB 
An  offences  come  from  the  heart.    Hen.  V.  4: 8. 

She  is  proud.  .  .  It  wm  Eve's  legacy.    Two  Gent.  3:1. 

So  should  I  give  consent  to  flatter  sin.   /  Hen.  VI.  5:5, 

Sin  ne'er  gives  a  fee,— He  gratis  comes.   Lucreee,  St.  /jr. 

Heaven  I  lay  not  my  transgression  to  my  charge.    King  John  z:  z. 

Wickedness  is  sin  and  sin  is  damnation.   As  You  Like  It  3:3. 

If  it  be  a  sin  to  make  a  true  election  she  is  damned.    Cymh.  z:  3. 

Some  rise  by  sin,  and  some  by  virtue  fall.   Meas.  for  Meas.  2:  z. 

And  he  (bears)  the  burden  of  a  guilty  mind.    Lucreee,  St.  105. 

Self-love  .  .  is  not  so  vile  a  sin  as  self-neglecting^    Hen.  V.  2: 4. 

Look  you,  the  sins  of  the  father  are  to  be  laid  upon  the  children. 

Mer.  of  Ven.  3:$. 

...  In  tKy  orisons 
Be  all  thy  sins  remember'd.    Ham.  3:  z.  ^ 

I  am  a  man 
More  sinned  against  than  sinning.    King  Lear  3:2. 

O,  what  authority  and  show  of  truth 

Can  cunning  sin  cover  itself  withal.    Much  Ado  4:z. 

O  deeper  sin  than  bottomless  conceit 

Can  comprehend  in  still  imagination.    Lucreee,  St.  zoz. 

But  no  perfection  is  so  absolute 

That  some  impurity  doth  not  pollute.    Lucreee.  St.  122. 


m 


You  are  a  made  old  man ;  if  the  sins  of 

Your  youth  are  forgiven  you,  you're  well  to  live. 


Winter's  Tale  3:3. 


4M 


SCRIPTURB  THEMES  IN  SHAKSPBARB 


I  do  see  the  vety  book  indeed 
Where  all  my  sins  are  writ,  and  that's  myself.    Rich.  It.  4:  t. 

And  in  thy  shady  cell,  where  none  may  spy  him, 

Sits  sin,  to  seize  the  souls  that  wander  by  him.    Lucrece,  St.  ti6. 

.  .  .  Self-love,  which  is  the  most  inhibited  (forbidden)   sin  in  the 
canon.    All's  Well  j:i. 

.  .  .  Only  sin 
And  hellish  obstinacy  tie  thy  tongue, 
That  truth  should  be  suspected.    All's  Well  1:3. 

What  sin  you  do  to  save  a  brother's  life. 

Nature  dispenses  with  the  deed  so  far, 

That  it  becomes  a  virtue.    Meas.  for  Meas.  j:  i. 

An  accessory  by  thine  inclination 

To  all  sins  past,  and  all  that  are  to  come. 

From  the  creation  to  the  general  doom.    Lucrece,  Si.  133. 

Have  you  a  ruffian  that  will  swear,  drink,  dance, 

Revel  the  night ;  rob,  murder  and  commit 

The  oldest  sins  the  newest  kind  of  ways  ?    //  Hen.  IV.  4: 4. 

The  blackest  sin  is  clear'd  with  absolution;  .  .  . 

The  eye  of  heaven  is  out,  and  misty  night 
Covers  the  shame  that  follows  sweet  delight.    Lucrece,  St.  5/. 

So  from  himself  impiety  hath  wrought. 

That  for  his  prey  to  pray  he  doth  begin. 

As  if  the  heaven  should  countenance  his  sin.    Lucrece,  St.  '49. 

Men's  faults  do  seldom  to  themselves  appear; 

Their  own  transgressions  partially  they  smother: 

This  guilt  would  seem  death-worthy  in  thy  brother.    Lucrece,  St.  fit, ' 

I  grant  him  bloody, 
Luxurious,  avaricious,  false,  deceitful. 
Sudden,  malicious,  smacking  of  every  sin 
That  has  a  name.    Macb.  4:3. 


SCRIPTURB  THBMSS  IN  SHAKSPBARB 

If  I  in  act,  content,  or  tin  of  thought 
Be  guilty  of  the  stealing  that  sweet  breath, 
Which  was  embounded  in  this  beauteous  clay, 
Let  hell  want  pains  enough  to  torture  me, 
I  left  him  well.    King  John  4:3. 

Where's  that  palace  whereinto  foul  things 
Sometimes  intrude  not?  who  has  a  breast  so  pure 
But  some  uncleanly  apprehensions 
Keep  leets  and  law-days,  and  in  sessions  sit 
With  meditotions  lawful?    Othello  3: 3. 

Thy  sins  are  visited  in  this  poor  child ; 

The  canon  of  the  law  is  laid  on  him, 

Being  but  the  second  generation 

Removed  from  thy  sin-conceiving  womb. 

.  .  .  he's  not  only  plagued  for  her  sin 

But  God  hath  made  her  sin  and  her  the  plague. 


King  John  i:  /. 


For  he's  no  man  on  whom  perfections  wait, 

That,  knowing  sin  within,  will  touch  the  gate. 

You're  a  fair  viol,  and  your  sense  the  strings, 

Who,  finger'd  to  make  man  his  lawful  music. 

Would  draw  heaven  down  and  all  the  gods  to  hearken; 

But  being  play'd  upon  before  your  time. 

Hell  only  danceth  to  so  harsh  a  chime.  .  .  . 

Few  love  to  hear  the  sins  they  love  to  act;  .  .  . 

How  courtesy  would  seem  to  cover  sin, 
When  what  is  done  is  like  an  hypocrite. 
The  which  is  good  in  nothing  but  in  sight.    PericUs  i:  I. 

O,  how  hast  thou  with  jealousy  infected 
The  sweetness  of  affiance !    Show  men  dutiful  ? 
Why,  so  didst  thou:  seem  they  grave  and  learned? 
Why,  so  didst  thou:  come  they  of  noble  family? 
Why,  so  didst  thou:  seem  they  religious? 
Why,  so  didst  thou:  or  are  they  spare  in  diet; 
Free  from  gross  passion,  or  of  mirth  or  anger; 
Constant  in  spirit,  not  swerving  with  the  blood; 
Gamish'd  and  deck'd  in  modest  complement; 
Nof  working  with  the  eye  without  the  ear. 


^ 


SCRIPTURB  THEMES  IN  SHAKSPSARE 


And  but  in  purged  Judgment  truiting  neither? 
Such,  and  w  finely  bolted,  didtt  thou  leem; 
And  thu»  thy  £iUl  hath  left  a  kind  of  blot, 
To  mark  the  full-fraught  man,  and  be»t  indued, 
With  nme  lutpicion.    I  will  weep  for  thee. 
For  this  revolt  of  thine,  methink*.  is  like 
Another  fall  of  man.    Hen.  V,  a:  2. 

I  am  myself  indifferent  honest;  but  yet  I  could  accuse  me  of  such' 
thmgs,  that  It  were  better,  my  mother  had  not  borne  me.  I  am  very 
proud,  revengeful,  ambitious.-  with  more  offences  at  my  back,  than  I 
have  thoughts  to  put  them  in.  imagination  to  give  them  shape,  or  time 
to  act  them  m.  What  should  such  fellows  as  I  do,  crawling  between 
heaven  and  earth  ?   We  are  arrant  knaves,  all ;  believe  none  of  uT 

Ham,  y.  i. 

SIN,  INSECURITY  AND  EFFECTS  OF 

Sin.  death,  and  hell  have  set  their  marks  on  nim; 
And  all  their  ministers  attend  on  him.    Rich.  III.  /.- j. 

...  They  say.  blood  will  have  blood ; 
Stones  have  been  known  to  move,  and  trees  to  speak.    Macb.  3.-4. 

But  O !  it  presses  to  my  memory. 

Like  damned  guilty  deeds  to  sinner's  minds.    Rom.  and  Jul.  3:2. 

Alack !  when  once  our  grace  we  have  forgot 
Nothing  goes  right:  we  would,  and  we  would  not. 

Meas.  for  Meas.  4: 4. 

.  .  .  The  times  conspire  with  you: 
For  he  that  steeps  his  safety  in  true  blood 
Shall  find  but  bloody  safety,  and  untrue.    King  John  3:4. 

OH,  sirs,  consider,  they  that  set  you  on 

To  do  this  deed  will  hate  you  for  the  deed. 

Well,  ni  go  hide  this  body  in  some  hole. 

Till  that  the  duke  give  order  for  his  burial ; 

And  when  I  have  my  meed,  I  will  away ; 

For  this  will  not,  and  then  I  must  not  stay.    Rich.  Ill  14. 


SCRIPTVRB  TH 


IS  SHAKSPBARS 


m 


To  my  tick  aoul.  u  tin't  true  nature  U,  k,  * ' 

Each  toy  seefm  prologue  to  tome  great  amtH: 

So  full  of  artleu  jealousy  U  guilt, 

It  spills  itself,  in  fearing  to  be  spilt    Ham.  4:3. 

The  flesh  being  proud,  desire  doth  fight  with  grace. 
For  there  it  revels ;  and  when  that  decays, 
The  guilty  rebel  for  remission  prays. 

So  fares  it  with  this  faultful  lord  of  Rome, 

Who  this  accomplishment  so  hotly  chased ; 

For  now  against  himself  he  sounds  this  doom. 

That  through  the  length  of  times,  he  stands  disgrac'dr 

Besides,  his  soul's  fair  temple  is  defac'd ; 

To  whose  weak  ruins  muster  troops  of  cares. 

To  ask  the  spotted  princess  how  she  fares. 

She  says,  her  subjects  with  foul  insurrection 
Have  batter'd  down  her  consecrated  wall. 
And  by  their  mortal  fault  brought  in  subjection 
Her  immortality,  and  made  her  thrall 
To  living  death,  and  pain  perpetual : 

Which  in  her  prescience  she  controlled  still. 

But  her  foresight  could  not  fore-stall  their  will. 
(See  Lust)  Lucrece,  St.  10^104. 


SIN.    TENDENCY  AND  DECEITFULNESS  OF 


One  sin,  I  know,  another  doth  provoke ; 
Murder's  as  near  to  lust  as  flame  to  smoke. 


Pericles  i:  r. 


Sometimes  we  are  devils  to  ourselves, 

When  we  will  tempt  the  frailty  of  our  powers, 

Presuming  on  their  changeful  potency.    Troi.  and  Cres.  4: 4. 

Heaven  in  thy  creation  did  decree 
That  in  thy  face  sweet  love  should  ever  dwell ; 
Whate'er  thy  thoughts.    -  thy  heart's  workings  be. 
Thy  looks  should  nothing  thence  but  sweetness  tell. 
How  like  Eve's  apple  doth  thy  beauty  grow, 
If  thy  sweet  virtue  answer  not  thy  show  1    Sonnet  93. 


4^  SCRJPTURS  THBMBS  IN  SHAKSPEARS 

f  1  am  in 

So  far  in  blood,  that  sin  will  pluck  on  sin.   Rich.  III.  4-  '' 

O  God,  what  mischiefs  work  the  wicked  ones; 

Heaping  confusion  on  their  own  heads  thereby  I   //  H*n.  VI.  »:  I. 

What  rein  can  hold  licentious  wickedness 

When  down  the  hill  he  holds  his  fierce  career?   Hen.  V,  3: 3- 

....  To  persist 
In  doing  wrong  extenuates  not  wrong. 
But  makes  it  much  more  heavy.    Trot,  and  Cres.  i:  2. 

To  kill,  I  grant,  is  sin's  extremest  gust; 

But  in  defence,  by  mercy,  'tis  most  just. 

To  be  in  anger  is  impiety; 

But  who  is  man  that  is  not  angry  ?    Timon  3: 5. 

The  king-becoming  graces. 
As  justice,  verity,  temperance,  stableness, 
Bounty,  perseverance,  mercy,  lowliness, 
Devotion,  patience,  courage,  fortitude, 
I  have  no  relish  of  them ;  but  abound 
In  the  division  of  each  several  crime. 
Acting  it  many  ways.    Nay,  had  I  power,  I  should 
Pour  the  sweet  milk  of  concord  into  hell. 
Uproar  the  universal  peace,  confound 
All  unity  on  earth.    Macb.  4:3. 

Sin  of  self-love  possesseth  all  mine  eye, 

And  all  my  soul,  and  all  my  every  part; 

And  for  this  sin  there  is  no  remedy. 

It  is  so  grounded  inward  in  my  heart. 

Methinks  no  face  so  gracious  is  as  mine. 

No  shape  so  true,  no  truth  of  such  account ; 

And  for  myself  mine  own  worth  do  define. 

As  I  all  other  in  all  worths  surmount. 

But  when  my  glass  shows  me  myself  indeed, 

Beated  and  chopp'd  with  tann'd  antiquity. 

Mine  own  self-love  quite  contrary  I  read; 

Self  so  self-loving  were  iniquity. 

'Tis  thee  (myself  )that  for  myself  I  praise. 

Painting  my  age  with  beauty  of  thy  days.    Sonnet  '62. 


SCRIPTURE  THEMES  IN  SHAKSPBARB 


*» 


SLANDER— MALICE 

Virtue  itself  'scapes  not  calumnious  strokes.    Ham.  i:  $.  V^ 

Pierc'd  to  the  soul  with  slander's  venom'd  spear.    Rich.  II.  i:  I. 

Done  to  death  by  slanderous  tongues 

Was  the  Hero  that  lies  here.    Mtuh  Ado  5:3. 

I  have  heard  you  preach 
That  malice  was  a  great  and  grievous  sin.    /  Hen,  VI.  $:  I. 

Slander  lives  upon  succession; 

For  ever  housed,  where  it  gets  possession.    Com.  of  Err.  3:  i. 

Be  thou  as  chaste  as  ice,  as  pure  as  snow,  thou  shalt  not  escape 
calumny.    Ham.  3:  i. 

God  forbid  any  malice  should  prevail. 

That  faultless  may  condemn  a  nobleman! 

Pray  God  he  may  acquit  him  of  suspicion.    //  Hen.  VI.  3:2. 

What,  cardinal,  is  your  priest-hood  grown  peremptory? 
Tantaene  animis  coelestibus  iraef 
Churchmen  so  hot  ?  good  uncle,  hide  such  malice ; 
With  such  holiness  can  you  do  it  ?   //  Hen.  VI.  2:  i. 

O,  let  my  sovereign  turn  away  his  face. 
And  bid  his  ears  a  little  while  be  deaf, 
Till  I  have  told  this  slander  of  his  blood, 
How  God,  and  good  men,  hate  so  foul  a  liar.    Rich.  II.  i:  I. 

That  thou  art  blam'd  shall  not  be  thy  defect, 

For  slander's  mark  was  ever  yet  the  fair ; 

The  ornament  of  beauty  is  suspect, 

A  crow  that  flies  in  heaven's  sweetest  air. 

So  thou  be  good,  slander  doth  but  approve 

Thy  worth  the  greater,  being  woo'd  of  time ; 

For  canker  vice  the  sweetest  buds  doth  love. 

And  thou  present'st  a  pure  unstained  prime.    Sonnet  70. 


340 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


k 


So,  happy,  slander, 
Whose  whisper  o'er  the  world's  diameter, 
As  level  as  the  cannon  to  his  blank. 
Transports  his  poison'd  shot,  may  miss  our  name. 
And  hit  the  woundless  air.    Ham.  4:  i. 

Traduced  by  ignorant  tongues,  ...  let  me  say 
'Tis  but  the  fate  of  place,  and  the  rough  brake 
That  virtue  must  go  through.    We  must  not  stint 
Our  necessary  actions,  in  the  fear 
To  cope  malicious  censurers.    Hen.  VIII.  i:  3. 

The  shrug,  the  hum,  or  ha  (these  petty  brands, 

That  calumny  doth  use, — O,  I  am  out ! — 

That  mercy  does,  for  calumny  will  sear 

Virtue  itself) — these  shrugs,  these  hums,  and  ha's. 

When  you  have  said,  "she's  goodly,"  come  between. 

Ere  you  can  say  "she's  honest."     Winter's  Tde  2:  i. 


1/ 


) 


-1- 
ii 


I 


I  say  thou  hast  belied  my  innocent  child ; 

Thy  slander  hath  gone  through  and  through  her  heart ; 

And  she  lies  buried  with  her  ancestors: 

O !  in  a  tomb  where  never  scandal  slept, 

Save  this  of  hers,  fram'd  by  thy  villainy. 

And  she  is  dead,  slander'd  to  death  by  villains.    Much  Ado  5:  /. 

Good  name,  in  man,  and  woman,  dear  my  lord. 
Is  the  immediate  jewel  of  their  souls : 
Who  steals  my  purse,  steals  trash;  'tis  something,  nothing; 
'Twas  mine,  'tis  his,  and  has  been  slave  to  thousands ; 
But  he,  that  filches  from  me  my  good  name, 
Robs  me  of  that,  which  not  enriches  him. 
And  makes  me  poor  indeed.    Othello  3: 3. 

No ;  'tis  slander. 
Whose  edge  is  sharper  than  the  sword ;  whose  tongue 
Outvenoms  all  the  worms  of  Nile ;  whose  breath 
Rides  on  the  posting  winds,  and  doth  belie 
All  comers  of  the  world :  kings,  queens,  and  states. 
Maids,  matrons,  nay,  the  secrets  of  the  grave 
This  viperous  slander  enters.    Cymb.  3-4. 


SCRIPTURE  THEMES  IN  SHAKSPEARE  241 

No  might  nor  greatness  in  mortality 

Can  censure  'scape;  back-wounding  calumny 

The  whitest  virtue  strikes ;  What  king  so  strong, 

Can  tie  the  gall  up  in  the  slanderous  tongue !    Meas.  for  Meas.  3: 2. 

If  thou  dost  slander  her,  and  torture  me. 
Never  pray  more:  abandon  all  remorse; 
On  horror's  head  horrors  accumulate ; 
Do  deeds  to  make  heaven  weep,  all  earth  amaz'd. 
For  nothing  canst  thou  to  damnation  add. 
Greater  than  that.    Othello  3: 3. 

Let  heaven  requite  it  with  the  serpent's  curse, 

For  if  she  be  not  honest,  chaste,  and  true, 

There's  no  man  happy ;  the  purest  of  their  wives 

Is  foul  as  slander.  .  .  . 

...  I  will  be  hang'd,  if  some  eternal  villain. 

Some  busy  and  insinuating  rogue. 

Some  cogging,  cozening  slave,  to  get  some  office. 

Have  not  devis'd  this  slander;  I'll  be  hang'd  else.    Othello  4:2. 

O  that  I  were  a  man ! — What  I  bear  her  in  hand  until  they  come  to 
take  hands ;  and  then  with  public  accusation,  uncovered  slander,  unmiti- 
gated rancour,— O  God,  that  I  were  a  manl  I  would  eat  his  heart  in 
the  market-place.    Much  Ado  4: 2. 


SORROW— GRIEF— SYMPATHY   -f- 

Sorrow  ends  not  when  it  seemeth  done.   Rkh.  II.  1:2. 

Sweet  are  the  uses  of  adversity.    As  You  Like  It  2:  r. 

He  jests  at  scars  that  never  felt  a  wound.   Rom.  and  Jul.  2: 2. 

This  sorrow's  heavenly. 
It  strikes  where  it  doth  love.    Othello  5;  2. 

...  It  is  a  greater  grief 
To  bear  love's  wrong  than  hate's  known  injury.    Sonnet  '40. 


M 


443  SCRIPTURE  THEMES  IN  SHAKSPEARS 

Great  griefs,  I  see,  medicine  the  less.    Cymb.  4:2. 

One  woe  doth  tread  upon  another's  heel. 
So  fest  they  follow.   Ham.  4: 7. 

One  jorrow  never  conies,  but  brings  an  heir. 
That  may  succeed,  as  his  inheritor.    Per.  j:  4. 

When  sorrows  come,  they  come  not  single  spies,  ^ /" 

But  in  battalions.    Ham.  4: 5. 

Sorrow  conceal'd,  like  an  oven  stopp'd. 

Doth  bum  the  h»art  to  cinders.    Titus  And.  2:$. 

Give  sorrow  words :  the  grief  that  does  not  speak 

Whispers  the  o'er  fraught  heart,  and  bids  it  break.   Macb.  4:  $. 

Sorrow  breaks  seasons  and  reposing  hours ; — 

Makes  the  night  morning,  and  the  noon-tide  night.    Rich.  III.  1:4. 

But  sorrow  that  is  couch'd  in  seeming  gladness 

Is  like  the  mirth  fate  turns  to  sudden  sadness.    Troi.  and  Cres.  j:  j. 

Therefore  be  merry  since  sudden  sorrow 

Serves  to  say  thus:    Some  good  thing  comes  to-morrow. 

I  Hen.  IV.  4:2. 

Wherever  sorrow  is,  relief  would  be ; 
If  you  do  sorrow  at  my  grief  in  love, 
By  giving  love,  your  sorrow  and  my  grief  were  both  extermin'd. 

As  You  Like  It  3:3. 

Sad  souls  are  slain  in  merry  company ; 

Grief  best  is  pleas'd  with  grief's  society ; 

True  sorrow  then  is  feelingly  suffic'd 

When  with  like  semblance  it  is  sympathiz'd.   Lucrece,  St.  ij^ 

Who  alone  suffers,  suffers  most  i*  the  mind, 

Leaving  free  things  and  happy  shows  behind ; 

But  then  the  mind  much  sufferance  doth  o'erskip. 

When  grief  hath  mates,  and  bearing  fellowship.    King  Lear  3:  '6. 


\^ 


SCRIPTURB  TMEMSS  IN  SHAKSPBARS 

It  not  my  aorrow  deep,  lunring  no  bottom  ? 

.  .  .  And  be  my  heart  an  ever-burning  hell : 

These  miseries  are  moM  than  may  be  borne. 

To  weep  with  them  th«(  weep  doth  ease  some  deal ; 

But  sorrow  flouted  at  is  double  death.    Titus  And.  j:  j. 

Men  can  counsel,  ifid  speak  comfort  to  that  grief 

Which  they  themMhres  not  feel :  but  tasting  it 

Their  counsel  turns  to  passion,  which  before 

Would  give  praMptial  medicine  to  rage. 

Fetter  strong  madness  in  a  silken  thread 

Charm  ache  with  air,  and  agony  with  words.   Much  Ado  5:  /. 

'TIS  sweet  and  commendable  .  .  . 

In  filial  oMigation  for  some  term 

To  do  obsequious  sorrow :    But  to  persevere 

In  obstinate  condolement,  is  a  course 

Of  impious  stubbornness;  'tis  unmanly  grief: 

It  shows  a  will  most  incorrect  to  heaven ; 

A  heart  unfortified,  a  mind  impatient. 

An  understanding  simple  and  unschool'd.    Ham.  1:2. 

Grief  fills  the  room  up  of  an  absent  child. 
Lies  in  his  bed,  walks  up  and  down  with  me. 
Puts  on  his  pretty  looks,  repeats  his  words. 
Remembers  me  of  all  his  gracious  parts. 
Stuffs  out  his  vacant  garments  with  his  form ; 
Then,  have  I  reason  to  be  fond  of  grief. 
Fare  you  well :  had  you  such  a  loss  as  I, 

I  could  give  better  comfort  than  you  do 

.  .  .  O  Lord !  my  boy,  my  Arthur,  my  fair  son ! 

My  life,  my  joy,  my  food,  my  all  the  world ! 

My  widow-comfort,  and  my  sorrows'  cure !    King  John  3: 4. 

There  are  numerous  references  to  "God"  and  "Heaven"  as  the  source 
of  comfort  and  help  in  affliction.    News  is  brought  to  Henry  VI.  that  all 

his  possessions  in  France  were  lost  as  a  result  of  war  and  he  exclaims : 

"Cold  news ;  but  God's  will  be  done !"    //  Hen.  VI.  j:  /. 

The  Ehike  of  Buckingham  is  informed  that  he  is  arrested  on  a  charge 
of  high  treason  and  he  answers : — "The  will  of  heaven- 
Be  done  in  this,  and  all  things  I    I  obey."    Hen.  VUI.  i:  i. 


'■ 


a44  SCRIPTURE  THEMES  IN  SHAKSPEARE 

^     You  do  surely  but  bar  the  door  upon  your  own  liberty  if  you  deny 
your  griefs  to  your  friends.    Ham.  3: 2. 

Moderate  lamentation  is  the  right  of  the  dead;  excessive  grief  is  the 
enemy  of  the  living.   All's  Well  i:  i. 

SOUL 

0  God!  I  have  an  ill-divining  soul.    Rom.  and  Jul.  3:5. 
My  soul  shall  virait  on  thee  to  heaven.    King  John  5:  7. 
...  The  immortal  part  needs  a  physician.    //  Hen.  IV.  2: 2. 
.  .  .  Take  my  soul:  my  body,  soul,  and  all.   /  Hen.  VI.  5:  J. 

0 1  God  defend  my  soul  from  such  deep  sin.    Rich.  II.  i:  i. 

Think'st  thou  I'll  endanger  my  soul  gratisr    Merry  Wives  2: 2. 

Every  subject's  duty  is  the  king's;  but  every  subject's  soul  is  his  own. 

Hen.  V.  4: 1. 

I  do  in  justice  charge  thee, — 
On  thy  soul's  peril.    Winter's  Tale  2:3. 

Banquo,  thy  soul's  flight 
If  it  find  heaven,  must  find  it  out  to-night.    Macb.  3: 2. 

Look,  who  comes  here !  a  grave  unto  a  soul ; 

Holding  the  eternal  spirit,  against  her  will.    King  John  3: 4. 

Her  body  sleeps  in  Capel's  monument, 

And  her  immortal  part  with  angels  lives.   Rom.  and  Jul.  5: 1. 

By  heaven,  he  shall  not  have  a  Scot  of  them ; 

No,  'f  a  Scot  would  save  his  soul  he  shall  not.   /  Hen.  IV.  i:  3. 

I'll  send  some  holy  bishop  to  entreat, 

For  God  forbid,  so  many  simple  souls  should  perish  by  the  sword! 

//  Hen.  VI.  4: 4- 


-«SL.]. 


SCRIPTURE  THEMES  IN  SHAKSPEARE 


94S 


Sweet  rest  to  his  soul  i —  ...  Warwick  bids 

You  all  farewell  to  meet  in  heaven.   Ill  Hen.  VI.  'y.  2. 

Whose  soul  is  that  which  takes  her  heavy  leave? 

A  deadly  groan,  like  life  and  death's  departing,    ///  Hen.  VI.  z:  6. 

Heaven's  above  all ;  and  there  be  souls  must  be  saved,  and  there  be  souls 
must  not  be  saved.    Othello  z:  3. 

I  will  deal  in  this 
As  secretly  and  justly  as  your  soul 
Should  with  your  body.    Much  Ado  4: 1. 

I  do  not  set  my  life  at  a  pin's  fee ;  -^  ' 

And,  for  my  soulj  what  can  it  do  to  that, 
Being  a  thing  immortal  as  itself  ?    Ham.  i:  4. 

He  dives  into  the  king's  soul ;  and  there  scatters 
Dangers,  doubts,  wringing  of  the  conscience. 
Tears  and  despairs.    Hen.  VIII.  2: 2. 

For  what  I  speak. 
My  body  shall  make  good  upon  this  earth 
Or  my  divine  soul  answer  it  in  heaven.   Rich.  II.  z:  I. 

This  is  All-Souls'  day,  is  it  not? 

By  the  false  faith  of  him  whom  most  I  trusted 

This,  this  All-Souls'  day  to  my  fearful  soul.    Rich.  III.  '4: 1. 

Or  by  the  worth  of  mine  eternal  soul. 
.  .  .  O  grace !  O  heaven  forgive  me ! 
Are  you  a  man  ?  have  you  a  soul,  or  sense  ? — 
God  be  wi'  you.    Othello  3: 3. 

Look  how  the  floor  of  heaven 
Is  thick  inlaid  with  patines  of  bright  gold. 
There'3  not  the  smallest  orb  which  thou  behold'st 
But  in  his  motion  like  an  angel  sings, 
Still  'quiring  to  the  young-eyed  cherubins : 
Such  harmony  is  in  immortal  souls.    Mer.  of  Ven.  5:  /. 


! 


I'.'   ' 


«fS  SCRIPTURB  THBMBS  IN  SHAKSPBARS 

IsqM.  I  had  rather  give  my  body  than  my  toul. 
AngHo.  I  talk  not  of  your  aoul :  Our  compell'd  lini 
Stand  more  for  number  than  accompt   Meas.  for  Meas.  a:  4. 


I  do  love  thee  ao, 
That  I  will  shortly  send  thy  soul  to  heaven 
If  heaven  will  take  the  present  at  our  hands. 


Rich.  in.  i:  I. 


It  is  too  late  I  the  life  of  all  his  blood 

Is  touch'd  corruptly ;  and  his  pure  brain 

(Which  some  suppose  the  soul's  frail  dwelling-house) 

Doth  by  the  idle  comments  that  it  makes 

Foretell  the  ending  of  mortality 

.  .  .  Tis  strange,  that  death  should  sing. 

I  am  the  cygnet  to  this  pale  faint  swan, 

Who  chants  a  doleful  hymn  to  his  own  death; 

And  from  the  organ-pipe  of  frailty,  sings 

His  soul  and  body  to  their  lasting  rest.  ... 

And  then  my  soul  shall  wait  on  thee  to  heaven, 

As  it  on  earth  hath  been  thy  servant  still.    King  John  5: 7. 

(See  also  Sonnet  146  at  close  of  chapter  on  Immortality— Bo(4c 
Third.) 

SUICIDE     ^- 


j     O  that  the  everlasting  had  not  fix'd 

His  canon  'gainst  self  slaughter  I    Ham.  i:2. 

But  life,  being  weary  of  these  worldly  bars, 

Never  lacks  power  to  dismiss  itself.    Jul.  Caesar  1:3. 

Against  self  slaughter 
There  is  a  prohibition  so  divine 
That  cravens  my  weak  hand.    Cymb.  3: 4. 

>i   For  who  would  bear  the  whips  and  scorns  of  time.  .  .  ,  , 
When  he  himself  might  his  quietus  make 
With  a  bare  bodkin  ?    Who  would  these  fardels  bear. 
To  grunt  and  swcjt  under  a  weary  life ; 
But  that  the  dread  of  something  after  death !    Ham.  3:  t. 


SCKIPTURS  THBMBS  l»  SHAKSPBARB 


Then  U  it  sin 
To  rush  into  die  lecret  house  of  death, 
Ere  de«th  dare  come  to  ui  ?  Ant.  and  CUo. 


4: 13- 


Wilt  thou  slay  thyself, 
And  slay  thy  lady,  too,  that  lives  in  thee. 
By  doing  damned  hate  upon  thyself? 
Why  rail'st  thou  on  thy  birth,  the  heaven,  and  earth? 
Since  birth,  and  heaven,  and  earth,  all  three  do  meet 
In  thee  at  once,  which  thou  at  once  wouldst  lose.   Rom.  and  Jul.  3:3. 

Even  by  the  rule  of  that  philosophy. 
By  which  I  did  blame  Cato  for  the  death 
Which  he  did  give  himself.    I  know  not  how, 
But  I  do  find  it  cowardly  and  vile. 
For  fear  of  what  mig^t  fall,  so  to  prevent 
The  term  of  life, — arming  myself  with  patience, 
To  stay  the  providence  of  those  high  powers. 
That  govern  us  below.    Jul.  Caesar  3;  /. 


TEMPTATION 

Had  he  been  Adam,  he  had  tempted  Eve.   Lovers  Labor  5;  z. 

Devils  soonest  tempt,  resembling  spirits  of  light.    Lovers  Labor  4:3. 

How  oft  the  sight  of  means  to  do  ill  deeds 
Makes  ill  deeds  done !    King  John  4:  s. 

Tis  one  thing  to  be  tempted. 

Another  thing  to  fall.    Meas.  for  Meas.  z:  i. 

Shall  I  be  tempted  of  the  devil  thus? 

Ay,  if  the  devil  tempt  thee  to  do  good.    Rich.  III.  4:4. 

.  .  .  the  devil  tempts  thee  here, 
In  likeness  of  a  new  untrimmed  bride.    King  John  3: 1. 

Withfiold  thine  indignation,  mighty  heaven, 

And  tempt  us  not  to  bear  above  our  power !    King  John  5*3L 


SCRIPTURE  THEMES  IN  SHAKSPBARB 


I! 


! 


■»lii 


Know'st  thou  not  any  whom  corrupting  gold 

Would  tempt  unto  a  close  exploit  of  death  ?    Rkh.  III. 


4:1. 


Sometimes  we  are  devils  to  ourselves, 

When  we  will  tempt  the  frailty  of  our  powers, 

Presuming  on  their  changeful  potency.    Troi  and  Crtt,  4: 4. 

It  is  hypocrisy  against  the  devil 

They  that  mean  virtuously,  and  yet  do  so, 

The  devil  their  virtue  tempts,  and  they  tempt  heaven.    Othello  4: 7. 

For  I  am  that  way  going  to  temptation, 

Where  prayers  cross.'  .... 
The  tempter  or  the  tempted,  who  sins  most  ?    Ha  I 
Not  she,  nor  doth  she  tempt ;  but  it  is  I, 
That  lying  by  the  violet  in  the  sun, 
Do,  as  the  carrion,  not  as  the  flower. 
Corrupt  with  virtuous  season.    Can  it  be. 
That  modesty  may  more  betray  our  sense 
Than  woman's  lightness  ?   Having  waste  ground  enough. 
Shall  we  desire  to  raze  the  sanctuary. 
And  pitch  our  evils  there  ?    O,  fie,  fie,  fie ! 
What  dost  thou,  or  what  art  thou,  Angelo  ? 
Dost  thou  desire  her  foully  for  those  things 
That  make  her  good  ?   O,  let  her  brother  live ! 
Thieves  for  their  robbery  have  authority. 
When  judges  steal  themselves.    What !  do  I  love  her, 
That  I  desire  to  hear  her  speak  again. 
And  feast  upon  her  eyes  ?   What  is  't  I  dream  on  ? 
O  cunning  enemy,  that,  to  catch  a  saint 
With  saints  dost  bait  thy  ho(^ !    Most  dangerous 
Is  that  temptation,  that  doth  goad  us  on 
To  sin  in  loving  virtue.    Mens,  for  Meas.  i:  2. 

Love  is  familiar ;  love  is  a  devil :  there  is  no  evil  angel  but  love.  Yet 
Samson  was  so  tempted;  and  he  had  an  excellent  strength;  yet  was 
Solomon  so  seduced ;  and  he  had  a  very  good  wit.    Love's  Labor  i:  2. 

'"The  petition  of  the  Lord's  Prayer,  'Lead  us  not  into  temptation,'  is  here 
considered  as  crossing  or  intercepting  the  way  in  which  Angelo  was  going:  he 
was  exposing  himself  to  temptation  by  the  appointment  for  the  morrow's  meet- 
ing."   Hudson's  Notes  on  Shakspeare. 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


TESTIMONY  OF  THE  DYING 

O  bat  they  say  the  tonguet  of  dying  men 

Enforce  attention,  like  deep  harmony ; 

Where  words  are  scarce,  they  are  seldom  spent  in  vain ; 

For  they  breathe  truth,  that  breathe  their  words  in  pain. 

He  that  no  more  must  say,  is  listen'd  more 

Than  they  whom  youth  and  ease  have  taught  to  glose ; 

More  are  men's  ends  mark'd,  than  their  lives  before.    Rich.  It.  J:  j. 

Heaven  has  an  end  in  all ;  yet,  you  that  hear  me. 

This  from  a  dying  man  receive  as  certain : 

Where  you  are  liberal  of  your  loves  and  counsels, 

Be  sure,  you  be  not  loose ;  for  those  you  make  friends. 

And  give  your  hearts  to,  when  they  once  perceive 

The  least  rub  in  your  fortunes,  fall  away 

Like  water  from  ye,  never  found  again 

But  when  they  mean  to  sink  ye.    All  good  people, 

Pray  for  me.   I  must  now  forsake  ye :  the  last  hour 

Of  my  long  weary  life  is  come  upon  me. 

Farewell:  ....  God  forgive  me.    Hen.  VIII.  i:x. 


TREASON— TREACHERY— BETRAYAL 

Trust  not  him  that  hath  once  broken  faith.   ///  Hen.  VI.  4: 4. 

Treason,  and  murther,  ever  kept  together. 

As  two  yoke-devils  sworn  to  cither's  purpose.    Hen.  V.  2: 2. 

My  name 
Be  yok'd  with  his  that  did  betray  the  Bt  A>    Winiei's  Tale  i: ». 

Heaven  guide  thy  pen  to  print  thy  sorrows  plain. 

That  we  may  know  the  traitors  and  the  truth !    Titus  And.  4: 1. 

Since  God  so  graciously  hath  brought  to  light 
This  dangerous  treason.    Hen.  V.  z:  z. 

'The  folio  gives  the  word  "Best"  with  a  capital  letter.    The  allusion  is  to 
Judas's  betrayal  of  Jesus. 


«o  SCRIPTURE  THBMBS  IS  SHAKSPBARS 

A  Iciuing  traitor :— How  »rt  thou  prov'd  Judu  ?   Uvt's  Labor  3: ». 

Hath  into  moiutroiu  habit*  put  the  graces 
That  once  were  hia,  and  it  become  aa  black 
Aa  if  besmear'd  in  helL   Htn.  VIII.  /.  2. 

And,  by  the  grace  of  God,  and  thit  mine  arm, 
To  prove  him,  in  defending  of  myMlf, 
A  traitor  to  my  God.   Rich.  II.  1: 3. 

Thus  do  all  traitors; 
If  their  purgation  did  consist  in  words. 
They  are  as  innocent  as  grace  itself.    As  You  Like  It  1:3. 

His  treasons  will  sit  blushing  in  his  face 

Not  able  to  endure  the  sight  of  day. 

But,  self-affrighted,  tremble  at  his  sin.    Rich.  II.  3:^. 

Like  a  traitor  coward, 
Sluic'd  out  his  innocent  soul  through  streams  of  blood : 
Which  blood,  like  sacrificing  Abel's,  cries. 
Even  from  th<«  tongueless  caverns  of  the  earth.   Rick.  II.  i:  i. 

This  word  rebellion,  it  had  froze  them  up 

As  fish  are  in  a  pond :    But  now  the  bishop 

Turns  insurrection  to  religron : 

Suppos'd  sincere  and  holy  in  his  thoughts.    //  Hen.  IV.  i:  r. 

I  well  remember 
The  favors*  of  these  men:  were  they  not  mine? 
■  'id  they  not  sometime  cry.  All  hail !  to  me? 
^o  ludis  did  to  Christ ;  but  he,  in  twelve, 
Mir.d  t  uth  in  all,  but  one.    Rich.  II.  4:  i. 

What  I  speak 
\-  body  shall  make  good  upon  this  earth, 
'•  my  divine  soul  answer  it  in  heaven, 
hou  n't  a  traitor,  and  a  miscreant ; 
Too  pood  to  be  so,  and  too  bad  to  live.    Rich.  II.  i:  t. 


SCRtFTURB  THStlBS  IN  SHAKSPBAKB 

If  ever  I  were  a  traitor 
My  name  be  blotted  from  the  book  of  life, 
And  I  fnftn  heaven  banished  as  fnmi  hence! 
But  what  thou  art,  heaven,  thou,  and  I  do  know.   Rieh.  II.  /:  J. 


n* 


I  promis'd      t  redreu  of  these  same  grievances, 
Wherrc>.'      i.  Ju'  complain;  which,  by  mine  honor, 
I  will  n^rtc   a  with  t  ..c*  Christian  care. 

Bat,  tVr  you.  .-ebeia,  .  vcV  <'    taste  the  due 
Men  i..r  . >:beliic.i.  .     . 

Juuven  n.tA  ^>t  V  f  fntl.  «a      '  fought  to-day, — 
Soi  .  .  -dT-*  tl.'cse    .ai^ors  .c  ,  le  block  of  death: 


.  rtasou 


tr''C  K^d,  a.v^ 


ic;   :t  up  of  breath.   //  Hen.  IV.  4:*. 


K.  He      Tl;      ivf  did  rebellion  find  rebuke — 
......  U.J  we  tjc    <ead  grace. 

Pardon,  ar  '     rrrs  ui  lov    to  all  of  you? 

And  wou!'  •!  tir:'    ur  offers  contrary? 

Misuse  the  tenor  of  thy  kinsman's  trust  ? 

Three  knights  upon  our  party  slain  to-day, 

A  noble  earl,  and  many  a  creature  else, 

Had  been  alive  this  hour, 

If,  like  a  Christian,  thou  hadst  truly  borne 

Betwixt  our  armies  true  intelligence.   /  Hen.  IV.  5:^. 

At  what  ease 
Might  corrupt  minds  procure  knaves,  as  corrupt, 
To  swear  against  you  ?  such  things  have  been  done : 
You  are  potently  oppos'd,  and  with  a  malice 
Of  as  great  size.    Ween  (think)  you  of  better  luck, 
I  mean  in  perjur'd  witness,  than  'our  Master, 
Whose  minister  you  are,  whiles  1  .  e  he  liv'd 
Upon  this  naughty  earth?   Hen.  k    11.  y.  i. 

Ingrateful,  savage,  and  inhuman  creature ! 
Thou  that  didst  bear  the  key  of  all  my  counseli* 
That  knew'st  the  very  bottom  of  my  soul. 
That  almost  mightst  have  coin'd  me  into  gold, 
Wouldst  thou  have  practic'd  on  me  for  thy  use  ? 
May  it  be  possible,  diat  foreign  hire 
Could  out  of  thee  extract  one  spark  of  evil. 


ti 


m 


m 


35a 


SCRIPTURE  THEMES  IN  SHAKSPBARS 


That  might  annoy  my  finger?  'tis  so  strange, 

That,  though  the  truth  of  it  stands  off  as  gross 

As  black  and  white,  my  eye  will  scarcely  see  it. 

Treason  and  murder  ever  kept  together. 

As  two  yoke-devils  sworn  to  either's  purpose. 

Working  so  grossly  in  a  natural  course, 

That  admiration  did  not  whoop  at  them : 

But  thou,  'gainst  all  proportion,  didst  bring  in 

Wonder  to  wait  on  treason,  and  on  murder : 

And  whatsoever  cunning  fiend  it  was. 

That  wrought  upon  thee  so  preposterously, 

Hath  got  the  voice  in  hell  for  excellence. 

And  other  devils,  that  suggest  by  treasons, 

Do  botch  and  bungle  up  damnation 

With  patches,  colors,  and  with  forms,  being  fetch'd 

From  glistening  semblances  of  piety : 

But  he  that  temper'd  thee  bade  thee  stand  up. 

Gave  thee  no  instance  why  thou  shouldst  do  treason. 

Unless  to  dub  thee  with  the  name  of  traitor. 

.  .  .  O,  how  hast  thou  with  jealousy  infected 

The  sweetness  of  affiance  I    Show  men  dutiful  ? 

Why,  so  didst  thou:  seem  they  grave  and  learned? 

Why,  so  didst  thou :  come  they  of  noble  family  ? 

Why,  so  didst  thou :  seem  they  religious  ? 

Why,  so  didst  thou.    Hen.  V.  2: 2. 


;W: 


TRUTH 
Truth  hath  a  quiet  breast.   Rich.  II.  1:3. 
Truth  loves  open  dealing.    Hen.  VIII.  j;  /. 
Truth  makes  all  things  plain.    Mid.  Night  Dr.  5;  /. 
O  wonderful,  when  devils  tell  the  truth!    Rich.  III.   1:2, 
Delight  no  less  in  truth  than  life.    Macb.  4:3. 
Truth  hath  better  deeds  than  words  to  grace  it.     Two  Gent.  '2'.2t 
There  is  no  time  so  miserable,  but  a  man  may  be  true.    Timon  4:3. 


J     A    t 


SCRIPTURE  THEMES  IN  SHAKSPEARS 

To  thine  own  self  be  true^  l^  ' 

And  it  must  follow,  as  the  night  the  day, 
Thou  can'st  not  then  be  false  to  any  man.    Ham.  1:3. 

Methinks,  the  truth  should  live  from  age  to  age, 

As  'twere  retail'd  to  all  posterity, 

Even  to  the  general  all-ending  day.    Rich.  HI.  j:  i. 

'Tis  not  the  many  oaths  that  make  the  truth; 
But  the  plain  single  vow,  that  is  vow'd  true. 
What  is  not  holy,  that  we  swear  not  by, 
But  toke  the  Highest  to  witness.   All's  Well  4:  z. 

I  can  teach  thee,  to  shame  the  devil. 

By  telling  truth ;  Tell  truth,  and  shame  the  devil. 

If  thou  hast  power  to  raise  him,  bring  him  hither. 

And  I'll  be  sworn  I  have  power  to  shame  him  hence ; 

O,  while  you  live,  tell  truth,  and  shame  the  devil.   /  Hen.  IV.  y.  x. 

Truth  is  truth 

To  the  end  of  reckoning. 

do  not  banish  reason 

For  inequality ;  but  let  your  reason  serve 

To  make  the  truth  appear  where  it  seems  hid ; 

And  hide  the  false  seems  true.    Meas.  for  ideas.  5;  /. 


253 


1*1 


VIRTUE— CHASTITY       |   • 

Virtue  is  chok'd  with  foul  ambition.    //  Hen.  VI.  3:  i. 

A  heart  unspotted  is  not  ijaslly  daunted.    //  Hen.  VI.  3: 7. 

He  lives  in  fame  that  died  in  virtue's  cause.    Titus  And.  1:2. 

Virtue  is  bold,  and  goodness  never  fearful.    Meas.  for  Meas.  3:  t. 

In  nature  there's  no  blemish  but  the  mind ; 

None  can  be  call'd  deform'd  but  the  unkind. 

Virtue  is  beauty ;  but  the  beauteous  evil 

Are  empty  trunks,  o'erflourished  by  the  devil.    Twelfth  Night  3: 4. 


aU  SCRIPTURB  THEMES  IN  SHAKSPBARM 

Our  remedies  oft  in  ourselves  do  lie 

Which  we  ascribe  to  Heaven.   All's  Wett  z:  t. 

Virtue,  as  it  never  will  be  nx>v'd  y 

Though  lewdness  court  it  in  shape  of  heaven.    Horn.  x:$. 

Virtue  itself  turns  vice,  being  misapplied ; 

And  vice  sometimes  by  action  dignified.    Rom.  and  Jul.  2:3. 

Virtue,  that  transgresses,  is  but  patched  with  sin ;  and  sin  that  amende 
is  but  patched  with  virtue.    Twelfth  Night  t:$. 

My  chastity  is  the  jewel  of  our  house, 
Bequeathed  down  from  many  ancestors ; 
Which  were  the  greatest  obloquy  i'  the  world 
In  me  to  lose.   All's  Well  4: 2. 

If  any  wretch  have  put  this  in  your  bead. 
Let  heaven  requite  it  with  the  serpent's  curse ! 
For,  if  she  be  not  honest,  chaste,  and  true. 
There's  no  man  happy,  the  purest  of  their  wives 
Is  foul  as  slander.    Othello  4: 2. 

Thyself  and  thy  belongings 
Are  not  thine  own  so  proper,  as  to  waste 
Thyself  upon  thy  virtues,  them  on  thee. 
Heaven  doth  with  us,  as  we  with  torches  do. 
Not  light  them  for  ourselves;  for  if  our  virtues 
Did  not  go  forth  of  us,  'twere  all  alike 
As  if  we  had  them  not.   Meas.  for  Meas.  1:1, 

Were  I  under  the  terms  of  death. 
The  impression  of  keen  whips  I'd  wear  as  rubies, 
And  strip  myself  to  death,  as  to  a  bed 
That  longing  had  been  sick  for,  ere  I'd  yield 

My  body  up  to  shame 

Better  it  were  a  brother  died  at  once. 
Than  that  a  sister,  by  redeeming  him. 

Should  die  forever 

Then,  Isabel,  live  chaste,  and,  brother,  die. 

More  than  our  brother  is  our  chastity.    Meas.  for  Meas.  2:4. 


SCRIPTVRS  THBUBS  IS  SHAKSPBARR 

But  heaven  in  thy  creation  did  decree, 
That  in  thy  face  aweet  love  should  ever  dwdl ; 
Whate'er  thy  thoughts  or  thy  heart's  workings  be. 
Thy  looks  should  nothing  thence  but  sweetness  tell 

How  like  Eve's  apple  doth  thy  beauty  grow. 

If  thy  sweet  virtue  answer  not  thy  show. 

They  that  have  power  to  hurt,  and  will  do  none, 

That  do  not  do  the  thing  they  most  do  show. 

Who,  moving  others,  are  themselves  as  stone. 

Unmoved,  cold,  and  to  temptation  slow ; 

They  rightly  do  inherit  heaven's  graces. 

And  husband  nature's  riches  from  expense. 

They  are  the  lords  and  owners  of  their  faces, 

CXhers  but  stewards  of  their  excellence.    Sonnet,  St.  pj,  p^ 

I  held  it  ever, 
Virtue  and  cunning  were  endowments  greater 
Than  nobleness  and  riches :  careless  heirs 
May  the  two  latter  darken  and  expend ; 
But  immortality  attends  the  former. 
Making  a  man  a  god.    Pericles  3: 2. 

Let  not  virtue  seek 
Remuneration  for  the  thing  it  was ! 
For  beauty,  wit. 

High  birth,  vigor  of  bone,  desert  in  service. 
Love,  friendship,  charity,  are  subjects  all 
To  envious  and  calumniating  time.    Troi.  and  Ores.  5:5;, 

Virtuous,  and  holy;  chosen  from  above. 

By  inspiration  of  celestial  grace, 

To  work  exceeding  miracles  on  earth. 

I  never  had  to  do  with  wicked  spirits : 

But  you, — ^that  are  polluted  with  your  lusts, 

Stain'd  with  the  guiltless  blood  of  innocents, 

Corrupt  and  tainted  with  » thousand  vices, — 

Because  you  want  the  grace  that  others  have. 

You  judge  it  straip'it  a  thing  impossible 

To  compass  wonders,  but  by  help  of  devils. 


f^WI 


as6 


SCRIPTURE  THEMES  IN  SHAKSPBARS 


No ;  misconceived  Joan  of  Are  hath  been 

A  virgin  from  her  tender  infancy. 

Chaste  and  immaculate  in  very  thought; 

Whose  maiden  blood,  thus  rigorously  effus'd. 

Will  cry  for  vengeance  at  the  gates  of  heaven.   /  Hen.  VI.  5: 4. 

The  hand  that  hath  made  you  fair  hath  made  you  good :  the  goodness 
that  is  cheap  in  beauty  makes  beauty  brief  in  goodness ;  but  grace  being 
the  soul  of  your  complexion,  should  keep  the  body  of  it  ever  fair. 

Meas.  for  ideas.  3:  i. 


WAR 


There  are  few  die  well  that  die  in  a  battle.   Hen.  V.  4: 1. 

The  peace  of  Heaven  is  theirs  that  left  their  swords 
In  such  a  just  and  charitable  war.    King  John  2: 1. 

Richard,  that  robb'd  the  lion  of  his  heart. 

And  fought  the  holy  wars  in  Palestine.    King  John  2: 1. 


How  you  awake  the  sleeping  sword  of  war. 
We  charge  you  in  the  name  of  God,  take  heed. 


Hen.  V.  i:i. 


O  war !  thou  son  of  hell. 
Whom  angry  heavens  do   nake  their  minister, 
Throw  in  the  frozen  bosoms  of  our  part 
Hot  coals  of  vengeance ! — Let  no  soldier  fly. 
He  that  is  truly  dedicate  to  war, 
Hath  no  self-love ;  nor  he,  that  loves  himself, 
Hath  not  essentially,  but  by  circumstance, 
The  name  of  valor. — O !  let  the  vile  world  end.    //  Hen.  VI.  5: 2. 

Now,  let  not  nature's  hand 
Keep  the  wild  flood  confin'd :  let  order  die; 
And  let  this  world  no  longer  be  a  stage. 
To  feed  contention  in  a  lingering  act. 
But  let  one  spirit  of  the  first-born  Cain 
Reign  in  all  bosoms,  that,  each  heart  being  set 
On  bloody  courses,  the  rude  scene  may  end, 
And  darkness  be  the  burier  of  the  dead !    //  Hen.  IV.  z:  T. 


SCRIPTURE  THEMES  IN  SHAKSPEARS 


ess 

ing 


In  God's  name  cheerly  on,  courageous  friends 

To  reap  the  harvest  of  perpetual  peace 

By  this  one  bloody  trial  of  sharp  war.    Rich.  III. 


5-A 


You,  lord  archbishop. 
Whose  see  is  by  a  civil  peace  maintain'd ; 
Whose  beard  the  silver  hand  of  peace  hath  touch'd ; 
Whose  learning  and  good  letters  peace  hath  tutor'd; 
Whose  white  investments  figure  innocence. 
The  dove  and  very  blessed  spirit  of  peace, — 
Wherefore  do  you  so  ill  translate  yourself. 
Out  of  the  speech  of  peace,  that  bears  such  grace, 
Into  the  harsh  and  boisterous  tongue  of  war? 
Turning  your  books  to  graves,  your  ink  to  blood. 
Your  pens  to  lances,  and  your  tongue  divine 
To  a  loud  trumpet,  and  report  of  war  ?    //  Hen.  IV.  4:  /. 

The  gates  of  mercy  shall  be  all  shut  up ; 

And  the  flesh'd  soldier,  rough  and  hard  of  heart. 

In  liberty  of  bloody  hand  shall  range 

With  conscience  wide  as  hell,  mowing  like  grass 

Your  fresh  fair  virgins,  and  your  flowering  in^ts. 

What  is  it  then  to  me,  if  impious  war, 

Array'd  in  flames  like  to  the  prince  of  fiends. 

Do,  with  his  smirch'd  complexion,  all  fell  feats 

Enlink'd  to  waste  and  desolation  ? 

What  is  't  to  me,  when  you  yourselves  are  cause. 

If  your  pure  maidens  fall  into  the  hand 

Of  hot  and  forcing  violation  ? 

What  rein  can  hold  licentious  wickedness. 

When  down  the  hill  he  holds  his  fierce  career? 

The  blind  and  bloody  soldier  with  foul  hand 

Defile  the  locks  of  your  shrill-shrieking  daughters ; 

Your  fathers  taken  by  the  silver  beards. 

And  their  most  reverend  heads  dash'd  to  the  walls ; 

Your  naked  infants  spitted  upon  pikes, 

Whiles  the  mad  mothers  with  their  howls  confus'd 

Do  break  the  clouds,  as  did  the  wives  of  Jewry 

At  Herod's  bloody-hunting  slaughtermen.    Hen.  V.  3:3. 


9| 


9S8 


SCRIPTURE  THEUBS  IN  SHAKSPBAR^ 


ft 


If  I  demand 

What  rub,  or  what  impediment,  there  is, 

iWhy  that  the  naked,  poor,  and  mangled  peace, 

Dear  nurse  of  arts,  plenty,  and  joyful  births. 

Should  not  in  this  best  garden  of  the  world. 

Our  fertile  France,  lift  up  her  lovely  visage? 

Alas !  she  hath  frcnn  France  too  long  been  chas'd. 

And  all  her  husbandry  doth  lie  on  heaps. 

Corrupting  in  its  own  fertility. 

Her  vine,  the  merry  chcerer  of  the  heart, 

Unpruned  dies :  her  hedges  even-pleached. 

Like  prisoners  wildly  overgrown  with  hair, 

Put  forth  disorder'd  twigs :  .  .  .  . 

And  as  our  vineyards,  fallows,  meads,  and  hedges. 

Defective  in  their  natures,  grow  to  wildness ; 

Even  so  our  houses,  and  ourselves,  and  children. 

Have  lost,  or  do  not  learn,  for  want  of  time, 

The  sciences  that  should  become  our  country. 

But  grow,  like  savages, — as  soldiers  will, 

That  nothing  do  but  meditate  on  blood, — 

To  swearing,  and  stem  looks,  diiTus'd  attire. 

And  everything  that  seems  unnatural.    Hen.  V.  5;  2. 

This  battle  fares  like  to  the  morning's  war, 
When  dying  clouds  contend  with  growing  light ; 
What  time  the  shepherd,  blowing  of  his  nails. 
Can  neither  call  it  perfect  day  nor  night. 
Now  sways  it  this  way,  like  a  mighty  sea 
Forc'd  by  the  tide  to  combat  with  the  wind : 
Now  sways  it  that  way,  like  the  self-same  sea 
Forc'd  to  retire  by  fury  of  the  wind : 
Sometime,  the  flood  prevails ;  and  then,  the  wind. 
Now,  one  the  better,  then,  another  best ; 
Both  tugging  to  be  victors,  breast  to  breast. 
Yet  neither  conqueror,  nor  conquered : 
So  is  the  equal  poise  of  this  fell  war. 
Here,  on  this  molehill,  will  I  sit  me  down. 
To  whom  God  will,  there  be  the  victory ; 

...  if  God's  good  will  were  so ; 
For  what  is  in  this  world  but  grief  and  woe  ? 
.  .  .  Who's  this  ? — O  God !  it  is  my  father's  face, 


SCRIPTURE  THEMES  IN  SHAKSPEARS 

Whom  in  this  conflict  I  unawares  have  kill'd. 
O  heavy  times,  begetting  such  events  I 
Pardon  me,  God,  I  knew  not  what  I  did ; — 
And  pardon,  father,  for  I  knew  not  thee. — 
My  tears  shall  wipe  away  these  bloody  marks, 
And  no  more  words,  till  they  have  flow'd  their  fill 
O  piteous  spectacle !    O  bloody  times  I 
Whiles  lions  war  and  battle  for  their  dens. 
Poor  harmless  lambs  abide  their  enmity. 
Weep,  wretched  man,  I'll  aid  thee,  tear  for  tear, 
And  let  our  hearts  and  eyes,  like  civil  war, 
Be  blind  with  tears,  and  break  o'ercharg'd  with  grief. 
....  Is  this  a  foeman's  face  ? 
Ah,  no,  no,  no  I  it  is  mine  only  son ! — * 
Ah,  boy !  if  any  life  be  left  in  thee. 
Throw  up  thine  eye :  see,  see,  wlrat  showers  arise. 
Blown  with  the  windy  tempest  of  my  heart 
Upon  thy  wounds,  that  kill  mine  eye  and  heart ! — 
O,  pity,  God,  this  miserable  age ! — 
What  stratagems,  how  fell,  how  butcherly. 
Erroneous,  mutinous,  and  unnatural. 
This  deadly  quarrel  daily  doth  beget ! — 
O  boy !  thy  father  gave  thee  life  too  soon. 
And  hath  bereft  thee  of  thy  life  too  late.    ///  Hen.  VI.  s:  5. 


v» 


There's  not  a  soldier  of  us  all,  that,  in  the  thanksiiriving  before  meat, 
doth  relish  the  petition  well  that  prays  for  peace.    Meas.  for  Meas.  i:  2. 


There  is  no  king,  be  his  cause  aever  so  spotless,  if  it  comes  to  the 
arbitrement  of  swords,  can  try  it  oat  with  all  unsported  soldiers.  Some, 
peradventure,  have  on  them  the  guilt  of  prensedr.ateJ  anfl  comrived 
murder ;  scMne,  making  the  wars  their  bulwark,  tixat  have  before  gored 
the  gentle  bosom  of  peace  with  pillage  and  rofeben.  Now,  if  these  men 
have  defeated  the  law,  and  outrun  native  pui^hnxnt,  though  they  can 
outstrip  men,  they  have  no  wings  to  fly  from  God:  War  is  his  beadle,  • 
war  is  his  vengeance.    Hen.  V.  4:  i. 

'The  dreadful  incidents  of  war  are  most  graphically  port-ayed  in  this  scene. : 
Especially  pathetic  are  the  above  passages  in  which  a  son  discovers  his  father  ] 
whom  he  ba»  slain  and  a  father  discovers  that  he  has  killed  his  only  son. 


SCRIPTURE  THEMES  IN  SHAKSPEARE 


^f 


WEALTH:    ILL-GOTTEN— HOARDED    (See  GoU) 

If  thou  art  rich,  thou  art  peer ; 
For  like  an  ass  whose  back  with  ingots  bows, 
Thou  bear'st  thy  heavy  riches  but  a  journey, 
And  death  unloads  thee.    Meas.  for  Meas.  3:  i. 

....  Didst  thou  never  hear. 

That  things  ill  got  had  ever  bad  success  ? 

And  happy  always  was  it  for  that  son, 

Whose  father  for  his  hoarding  went  to  hell  ? 

I'll  leave  my  son  my  virtuous  deeds  behind. 

And  would  my  father  had  left  me  no  more; 

For  all  the  rest  is  held  at  such  a  rate. 

As  brings  a  thousand- fold  more  care  to  keep, 

Than  in  possession  any  jot  of  pleasure.    ///  Hen.  VI.  a:». 

Those  that  much  covet  are  with  gain  so  fond. 

That  what  they  have  not,  that  which  they  possess, 

They  scatter  and  unloose  it  from  their  bond. 

And  so,  by  hoping  more,  they  have  but  less ; 

Or,  gaining  more,  the  profit  of  excess 
Is  but  to  surfeit,  and  such  griefs  sustain, 
That  they  prove  bankrupt  in  this  poor  rich  gain. 

The  aim  of  all  is  but  to  nurse  the  life 
With  honor,  wealth,  and  ease,  in  waning  age ; 
And  in  this  aim  there  is  such  thwarting  strife, 
That  one  for  all,  or  all  for  one  we  gage ; 
As  life  for  honor  in  fell  battles'  rage : 

Honor  for  wealth,  and  oft  that  wealth  doth  cost 

The  death  of  all,  and  all  together  lost. 

So  that  in  venturing  ill,  we  leave  to  be 
The  things  we  are  for  that  which  we  expect ; 
And  this  ambitious  foul  infirmity, 
In  having  much,  torments  us  with  defect 
Of  that  we  have :  so  then  we  do  neglect 

The  thing  we  have ;  and,  all  for  want  of  wit, 
^  Make  something  nothing  by  augmenting  it.    Lucrece,  St.  21,  22. 


SCRIPTURE  THEMES  IN  SHAKSPBARJH 


j6i 


What  win  I,  if  I  gain  the  thing  I  seek? 

A  dream,  a  breath,  a  froth  of  fleeting  joy. 

Who  buys  a  minute's  mirth  to  wail  a  week, 

Or  sells  eternity  to  get  a  toy? 

For  one  sweet  grape  who  will  the  vine  destroy? 

Or  what  fond  beggar,  but  to  touch  the  crown. 

Would  with  the  sceptre  straight  be  stricken  down?  Luertet,  St.  31. 


WOMAN    (See  Marriage) 

She  hath  all  courtly  parts,  more  exquisite 
Than  lady,  ladies,  woman :  from  every  one 
The  best  she  hath,  and  she,  of  all  compounded, 
Outsells  them  all    Cymb.  3: 5. 

.  .  .  Women  are  frail  too. 
Ay,  as  the  glasses  where  they  view  themselves ; 
Which  are  as  easy  broke  as  they  make  forms. 
Women ! — Help,  heaven !  men  their  creation  mar 
In  profiting  by  them.    Nay,  call  us  ten  times  frail ; 
For  we  are  soft  as  our  complexions  are 
And  credulous  to  false  prints.   Meas.  for  Meas.  2: 4. 

She  never  told  her  love. 
But  let  concealment,  like  a  worm  i'  the  bud. 
Feed  on  her  damask  cheek :  she  pin'd  in  thought. 
She  sat  like  patience  on  a  monument 
Smiling  at  grief.    Was  not  this  love  indeed? 
We  men  may  say  more,  swear  more :  but  indeed 
Our  shows  are  more  than  will ;  for  still  we  prove 
Much  in  our  vows,  but  little  in  our  tove.    Twelfth  Night  £.''4. 

....  Let  me  speak  myself. 
Since  virtue  finds  no  friends — a  wife,  a  true  one? 
A  wcmian,  (I  dare  say  without  vain-glory,) 
Never  yet  branded  with  suspicion  ? 
Have  I  with  all  my  full  affections 

Still  met  the  King?  lov'd  him  next  Heaven?  obey'd  him? 
Been,  out  of  fondness,  superstitious  to  him  ?  .  .  .  . 
Almost  forgot  my  prayers  to  content  him? 


«|  SCRIPTURS  THUMBS  IN  SHAKSPBARS 

Bring  me  t  ooottant  wonum  to  h«.-r  hiuband. 

One  that  ne'er  drewn'd  a  joy  bey*  ml  his  pleasure ; 

And  to  that  woman,  when  she  has  done  mott, 

Yet  will  I  add  an  honor,— a  great  patience.    Hen.  VIU.  j:  /. 


iW 


I  si 


WORLD,  THE 

0  wicked,  wicked  worid  I   Merry  Wives  i:  i. 

O,  how  full  of  briars  is  this  working-day  world !    As  You  Likt  It  i:  3. 

.  .  .  The  world's  grown  honest!  y 

Then  is  domns-day  near.    Ham.  2:  i.  ' 

.  .  .  those  mysteries,  which  heaven 
.Wni  not  have  earth  to  know.   Corio.  4:  i. 

The  world  has  grown  so  bad 
That  wrens  make  prey  where  eagles  dare  not  perch.   Rich.  III.  t:  3. 

World,  world,  O  world ! 
But  that  thy  strange  mutations  make  us  hate  thee, 
Life  would  not  yield  to  age.    King  Lear  4:  z. 

1  am  in  this  earthly  world ;  where,  to  do  harm, 
Is  often  laudable !  to  do  good,  sometime 
Accounted  dangerous  folly.   Macb.  4: 2. 

Why  this— 
Is  the  world's  soul ;  and  just  of  the  same  piece 
Is  every  flatterer's  part    Timon  3:2. 

....  The  world  is  but  a  word ; 
Were  it  all  yours,  to  give  it  in  a  breath. 
How  quickly  were  it  gone?    Timon  2: 2. 

You  have  too  much  respect  upon  the  world 

They  lose  it  that  do  buy  it  with  much  care. 

...  I  hold  the  world  but  as  the  world 

A  stage,  where  every  man  plays  a  part.  Mer.  of  Ven.  i:  i. 


SCRlPTVRtt  THBMBS  IN  SHAKSPBAXM 

TUt  wide  and  onivend  tKcttre 
Pmenti  more  woful  (Wfcants,  than  the  icene 
.Wherein  we  play  in.   All  the  world's  a  ttafe. 
And  all  the  men  and  women  merely  players: 
Tiiey  have  their  exits  and  their  entrances, 
And  one  man  in  his  time  plays  many  parts, 
His  acts  betiy  seven  ages.  AsYonUkt  It  i:f. 

O,  what  a  worid  is  this,  when  what  is  comely 
Envenoms  him  that  bears  it!  ...  . 

O,  good  old  man  i  how  well  in  thee  appears 
The  constant  favor  of  the  antique  world. 
When  service  sweat  for  duty,  not  for  meed  I 
Thou  art  not  for  the  fashion  of  these  times, 
Where  none  will  sweat  but  for  promotion. 
And  having  that,  do  choke  their  service  up 
Even  with  the  having.    As  You  Likt  It  i:  3. 

I  have  been  studying  how  I  may  compare 
This  prison,  where  I  live,  unto  the  world : 
And  for  because  the  world  is  populous. 
And  here  is  not  a  creature  but  myself, 
I  cannot  do  it :  yet  I'll  hammer  't  out 
My  brain  III  prove  the  female  to  my  soul ; 
My  soul,  the  father:  and  these  two  beget 
A  generation  of  still-breeding  thoughts. 
And  these  same  thoughts  people  this  little  world ; 
In  humors  like  the  people  of  this  world. 
For  no  thought  is  contented.   The  better  sort. 
As  thoughts  of  thing's  divine,  are  intermix'd 
With  scruples,  and  do  set  the  word  itself 
Against  the  word ; 

As  thus, — "Come,  little  ones ;"  and  then  again,— 
"It  is  as  hard  to  come,  as  for  a  camel 
To  thread  the  postern  of  a  needle's  eye."    Rich.  II.  $:$. 


A  man  may  see  how  this  world  goes  with  no  eyes, 
ears.    King  Lear  4:6. 


Look  with  thine 


MiCIOCOPr   MSmUTION   TBT  CHART 

(ANSI  ond  ISO  TEST  CHART  No.  2) 


Jk 


i     /1PPLIED  IM/OE    Ir 


1653  Eost   Mom   Stmt 

Roch«t*r,  N«w   York         14609       USA 

(716)  482  -  0300  -  Phon« 

(716)   288-  5989  -  Tok 


-;■(:; 


SCRIPTURE  THEMES  IN  SHAKSPEARB 


WORLDLY  HONORS  AND  GLORY    (See  Life) 

Glory  grows  guilty  of  detested  crimes 

When,  for  fame's  sake,  for  praise,  an  outward  part, 

We  bend  to  that  the  working  of  the  heart.   Love's  Labor  4:  r. 

O,  the  fierce  wretchedness  that  glory  brings  us ! 
Who  would  not  wish  to  be  from  wealth  exempt. 
Since  riches  point  to  misery  and  contempt  ? 
Who  would  be  so  mock'd  with  glory?  or  to  live 
But  in  a  dream  of  friendship  ?    Timon  4: 2. 

By  him  that  rais'd  me  to  this  careful  height.  .  .  . 

I  had  rather  be  a  country  servant — maid 

Than  a  great  queen,  with  this  condition 

To  be  so  baited,  scom'd,  and  stormed  at 

Small  joy  have  I  in  being  England's  queen.    Rich.  lU.  1:3. 

Lo,  now  my  glory  smear'd  in  dust  and  blood  1 

My  parks,  my  walks,  my  manors  that  I  had. 

Even  now  forsake  me;  and,  of  all  my  lands. 

Is  nothing  left  me,  but  my  body's  length. 

Why,  what  is  pomp,  rule,  reign,  but  earth  and  dust? 

And,  live  we  how  we  can,  yet  die  we  must 

Warwick  bids  you  all  farewell,  to  meet  in  heaven.   ///  Hen.  VL  5:  z. 

Why  doth  the  crown  lie  there,  upon  his  pillow. 
Being  so  troublesome  a  bedfellow  ? 
O  polish'd  perturbation !  goMen  care ! 
That  keep'st  the  ports  of  slumber  open  wide 
To  many  a  watchful  night,  sleep  with  it  now ! 
Yet  not  so  sound,  and  half  so  deeply  sweet. 
As  he,  whose  brow  with  homely  biggin  bound. 
Snores  out  the  watch  of  night.    O  majesty! 
When  thou  dost  pinch  thy  bearer,  thou  dost  sit 
Like  a  rich  armor  worn  in  heat  of  day. 
That  scalds  with  safety 

•  •  •  There  is  your  crown ; 
And  He  that  wears  the  crown  immortally. 
Long  guard  it  yours  1    If  it  affect  it  more, 


SCRIPTURE  THEMES  IN  SHAKSPEARB 

Than  as  your  honor,  and  as  your  renown, 

Let  me  no  more  from  this  obedience  rise, 

(Which  my  most  true  and  inward  duteous  spirit 

Teacheth,) — ^this  prostrate  and  exterior  bending. 

Heaven  witness  with  me,  when  I  here  came  in. 

And  found  no  course  of  breath  within  your  majesty, 

How  cold  it  struck  my  heart  I  if  I  do  feign, 

O !  let  me  in  my  present  wildness  die, 

And  never  live  to  show  th'  incredulous  world 

The  noble  change  that  I  have  purposed. 

Coming  to  look  on  you,  thinking  you  dead,  ,  .  . 

I  spake  unto  the  crown,  as  having  sense, 

And  thus  upbraided  it :   "The  care  on  thee  depending, 

Hath  fed  upon  the  body  of  my  father ; 

Therefore,  thou,  best  of  gold,  art  worst  of  gold. 

Other,  less  fine  in  carat,  is  more  precious. 

Preserving  life  in  medicine  potable : 

But  thou,  most  fine,  most  honor'd,  most  renown'd. 

Hast  eat  thy  bearer  up."  .  .  . 

God  knows,  my  son. 

By  what  by-paths,  and  indirect  crook'd  ways, 

I  met  this  crown ;  and  I  myself  know  well 

How  troublesome  it  sat  upon  my  head.   //  Hen.  IV.  '4: '4, 


a65 


i 


I 


:.| 


L> 

MUB 

BOOK    FIFTH 


Shakspeare    and    Temperance 


i«r 


m 


m 


SHAKSPEARE  AND  TEMPERANCE 


-8 

i 


If,  as  has  been  said,  "  Shakspeare  was  no  reformer,"  it  is  true  only 
of  the  man.  The  Genius  Shakspeare  was  not  only  true  to  the  spirit 
of  reform,  but  was,  in  advance,  a  prophecy  of  events  not  dreamed  of  by 
the  practical  world,  until  generations  after  him.  Shakspeare's  genius, 
like  all  genius,  was  not  bounded  by  the  narrow,  and  sometimes  soiled, 
limits  of  its  messenger. 

Bums,  for  example,  was  truer  to  the  truth  as  a  poet  than  as  a  man. 
His  noblest  poems  are  as  the  voice  of  a  prophet  proclaiming  against 
hypocrisy,  cant,  and  vice ;  or  as  the  angel  song  of  purity  and  love  and 
are  immeasurably  loftier  and  truer  than  the  man.  If  we  would  see  the 
spirit  of  his  poetic  genius  we  will  visit  with  him,  the  "Cotter's  Saturday 
Night,"  rather  than  with  the  man  who  spent  more  than  his  leisure  hours 
in  the  beer-house. 

Genius  anticipates  reform ;  long  before  old  prejudices  are  swept  away 
and  great  evils  are  openly  attacked  it  foretells  the  coming  event  and 
foreshadows  the  issue  of  the  contest.  Enthusiasm  incarnated,  fulfills  the 
prophecy.  Some  day  when,  perhaps,  the  voice  of  the  Seer  has  long  been 
silent  and  is  almost  forgotten,  the  Reformer  appears,  and  in  him  is  the 
incarnation  of  the  great  past  foretelling. 

In  Shakspeare's  day  there  was  no  thought  of  a  social  uprising,  based 
upon  the  practice  of  abstinence  from  the  use  of  intoxicating  liquors  as 
beverages.  Yet  the  genius  of  the  dramatist  was  contemporary,  in 
advance,  with  Lyman  Beecher,  Frederic  R.  Lees,  and  John  B.  Gough, 
two  hundred  years  before  those  temperance  apostles  were  born.  Not 
even  modem  temperance  literature,  or  the  most  impassioned  speech  of 
the  present-day  orator,  has  ever  spoken  in  terms  of  more  uncompro- 
mising condemnation  of  strong  drink,  and  nowhere  can  be  found  finer 
testimony  of  the  advantages  of  temperance  than  is  given  in  some  of  the 
plays  of  Shakspeare. 

Of  course  in  these  great  works  which  present  all  the  passions  and 
emotions  of  the  human  race,  as  upon  the  stage,  there  are  to  be  found 
words  in  praise  of  wine,  and  even  of  debauchery  and  gross  vice ;  but 
such  praise  is  from  the  mouths  of  men  whose  words  condemn  the  thing 
they  praise. 

Falstaff,  for  example,  is  a  representative  of  that  class  of  men  who 

a69 


ii 


H 


970 


SHAKSPBARS  AND  TBUPBRANCB 


glory  in  the  reveli  of  feasting,  drinking,  and  debauchery, — who  seem  to 
be  merry  only  in  the  gratification  of  their  sensuous  nature.  In  one  of  his 
drunken,  rollicking  moods,  this  man  sounds  the  praise  of  liquor  in  the 
peculiar  style  of  that  age  which  Shakspeare  has  so  faithfully  por- 
trayed:— 

"  A  good  sherrtt-sack  hath  a  two-fold  operation  in  it.  It  aicendf  tne  into  the 
brain ;  dries  me  there  all  the  foolish,  and  dull,  and  crudy  vapors  which  environ  it : 
makes  it  apprehensive,  quick,  forgetive,  full  of  nimble,  fiery,  and  delectable  shapes; 
which  deliver'd  o'er  to  the  voice,  (the  tongue,)  which  is  the  birth,  becomes  excel* 
lent  wit.  The  second  property  of  your  excellent  sherris  is  the  warming  of  the 
blood ;  which,  before  cold  and  settled,  left  the  liver  white  and  pale,  which  is  the 
badge  of  pusillanimity  and  cowardice;  but  the  sherris  warms  it,  and  makes  it 
course  from  the  inwards  to  the  parts  extreme.  It  illuminateth  the  face,  which,  as 
a  beacon,  gives  warning  to  all  the  rest  of  this  little  kingdom,  man,  to  arm ;  and 
then  the  vital  commoners,  and  inland  petty  spirits,  muster  me  all  to  their  captain, 
the  heart,  who,  great  and  puffd  up  with  this  retinue,  doth  any  deed  of  courage; 
and  this  valor  comes  of  sherris.  So  that  skill  in  the  weapon  is  nothing  without 
sack;  for  that  sets  it  a-work;  and  learning  a  mere  hoard  of  gold  kept  by  a  devil, 
till  sack  commences  it  in  act  and  use. ...  If  I  had  a  thousand  sons,  the  first  prin- 
ciple I  would  teach  them  should  be,— to  forswear  thin  potations,  and  addict  them- 
selves to  sack."    //  Henry  IV.  4;  3. 

No  one  having  any  regard  for  his  reputation,  would  venture  to  quote, 
with  approval,  a  doctrine  that  would  make  it  a  "first  principle"  of  life 
to  teach  our  sons  how  to  get  drunk. 

But  to  those  who  will  study  Shakspeare's  full-length  portrait  of  this 
singular  specimen  of  humorous  dishonor  and  corruption  there  is  no 
need  of  warning.  Consistent  with  the  Falstaff  character  is  the  follow- 
ing absurd  tirade  on  the  subject  of  "honor :" — 


Can  honor  set  to  a  leg?  No.  Or  an  arm?  No.  Or  take  away  the  grief  of  a 
wound?  No.  Honor  hath  no  skill  in  surgery  then?  No.  What  is  honor?  A 
word.  What  is  that  word,  honor?  Air.  A  trim  reckoning  I— Who  hath  it?  He 
that  died  o'  Wednesday.  Doth  he  feel  it?  No.  Do  h  he  hear  it?  No.  Is  it 
insensible  then?  Yea,  to  the  dead.  But  will  it  not  live  with  the  living?  No. 
Why?  Detraction  wUl  not  suffer  it : —therefore,  111  none  of  it:  Honor  is  a 
mere  scutcheon,  and  so  ends  i.iy  catechism.    /  Henry  IV.  5:  i. 

"Fools  make  a  mock  at  sin"  but  with  the  id  comes  judgment.  King 
Henry  IV.  answers  Falstafl's  over- friendly  salute  thus : — 


"  I  know  thee  not,  old  man :    Fall  to  thy  prayers; 
How  ill  white  hairs  become  a  fool  and  jester  I 
I  have  long  dream'd  of  such  a  kind  of  man. 
So  surfeit-swelled,  so  old,  and  so  profane ; 


V 


SHAKSPBARE  AND  TEUPERANCS  m 

But  being  awake.  I  do  despise  my  dream. 

Make  less  thy  body,  hence,  and  more  thy  grace ; 

Leave  gormandizing ;  know,  the  grave  doth  gape 

For  thee  thrice  wider  than  for  other  men.    //  Htn.  IV.  s:  5, 

Human  language  has  never  been  framed  in  a  more  forceful  indictment 
of  strong  drink  as  a  factor  of  the  greatest  crimes  than  is  found  in  the 
plays  of  Macbeth  and  Othello. 

When  the  magnitude  of  his  contemplated  crime  produces  in  Macbeth 
a  fear  of  failure,  the  use  of  drink  as  a  potent  agent  is  thus  suggested 
by  his  guilty  partner,  Lady  Macbeth : — 

"  When  Duncan  is  asleep,  .  .  his  two  chamberlains 
Will  I  with  wine  and  wassail  30  convince,' 
That  memory,  the  warder  of  the  brain, 
Shall  be  a  fume,  and  the  receipt  of  reason 
A  limbeck  *  only :    When  in  swinish  sleep 
Their  drenched  natures  lie,  as  in  a  death. 
What  cannot  you  and  I  perform  upon 
The  unguarded  Duncan  ?  what  not  put  upon 
His  spongy  officers ;  who  shall  bear  the  guilt 
Of  our  great  quell." '    Macb.  /;  7. 

Similar  is  the  thought  of  the  villain  lago  in  the  play  of  Othello,  as  he 
exclaims: — 

"  If  I  can  but  fasten  one  cup  upon  him 
With  that  which  he  hath  drunk  to-night  already 
He'll  be  as  full  of  quarrel  and  offense 
As  my  young  mistress's  dog."  Othello  z:  3. 

Following  up  his  scheme  of  ruin,  lago  leads  the  night-revel  and  suc- 
ceeds in  producing  in  Cassio,  a  condition  of  drunkenness  which  puts  him 
into  a  quarrelsome  mood.  Othello  is  disturbed  by  the  midnight  riot  and, 
angry  with  Cassio  (the  seeming  cause  of  it)  he  dismisses  him  from  his 
office.  Then  follows  a  conversation  in  which  lago  hypocritically  pro- 
fesses sympathetic  interest  in  Cassio's  welfare,  while  Cassio  himself  con- 
demns his  own  intoxicated  condition  in  the  bitterest  terms : — 


I 


"lago.  What,  are  you  hurt  lieutenant? 
Cos.  Ay,  past  all  surgery. 
lago.  Marry,  Heaven  forbid! 

Cm.  Reputation,  reputation,  reputation !    O.  I  have  lost  my  reputation  t    I  have 
lost  the  immortal  part  of  myself  and  what  remains  is  bestial.  .  .  .  Drunk?  and 

*  Overpower.    '  Alembic, — a  glass  used  for  distilling.    '  Murder. 


V 


SHAKSPBARB  AND  TEUPBRANCB 


speak  parrot?  and  squabble?  swagger?  swear?  and  discourse  fustian  with  one's 
own  shadow  ?— O  thou  invisible  spirit  of  wine,  if  thou  bast  no  other  name  to  be 

known  by,  let  us  call  thee  devil  I 

I  remember  a  mass  of  things  but  nothing  distinctly;  a  quarrel,  but  nothing 
wherefore.— O  that  men  should  put  an  enemy  into  their  brains!  that  we  should 
with  joy,  pleasancc,  revel,  and  applause,  transform  ourselves  into  beasts  I" 

To  which,  lago  in  the  pretense  of  sincere  friendship,  urging  Cassio  to 
appeal  to  Othello  for  restoration  to  his  lost  position  in  the  army,  says : — 

"  I  could  heartily  wish  this  had  not  befallen ;  but  since  it  is  as  it  k,  mead  it  for 
your  good." 

And  Cassio  replies : — 

"I  shall  ask  him  for  my  place  again ;  he  shall  tell  me  I  am  a  drunkard  \  Had 
I  as  many  mouths  as  Hydra  such  an  answer  would  stop  them  all.  To  be  a  sensible 
man,  by  and  by  a  fool,  and  presently  a  beast  I  O  strange!  every  inordinate  cup  is 
unblessed  and  the  ingredient  is  a  devil."    Othello  t:  3. 


M 

m 


In  the  play  of  Macbeth  several  references  are  made  to  the  ruinous 
effects  of  intemperance.  Macduff,  referring  not  to  the  intemperance  of 
drinking  only,  but  to  the  lack  of  self-restraint,  says:— 

"Boundless  intemperance 
In  nature  is  a  tyranny ;  it  hath  been 
Th'  untimely  emptying  of  the  happy  throne. 
And  fall  of  many  kings."    Macb.  4: 3. 

Lady  Macbeth's  thought  that  with  "wine  and  wassail"  she  could  so 
overpower  the  sleeping  guards  of  Duncan :  "that  memory  the  warder  of 
the  brain  shall  be  a  fume  and  the  receipt  of  reason  a  limbeck  only"  is 
indorsed  by  the  hunting  lord  in  the  induction  to  the  Taming  of  thb 
Shrew.    Finding  a  drunken  tinker  sleeping  in  the  street,  he  asks : — 

"  What's  here  ?  one  dead,  or  drunk  ?  see  he  breathe  ?" 
And  the  answer  is : — 

"  He  breathes :  were  he  not  warm'd  with  ale 
This  were  a  bed  but  cold  to  sleep  so  soundly." 

The  lord  looks  at  the  gross  and  stupid  body  and  exdaims: — 

"  O  monstrous  beast !  how  like  a  swine  he  lies ! 
Grim  death,  how  foul  and  loathsome  is  thine  image  I " 


SHAKSPBARE  AJfD  TBUPERASCB 


•73 


And  then  he  determine!  to  play  upon  the  i"**^*"*'**  J^^"  °' **  "^ 
and  make  him  believe,  when  he  awaken.,  that  he  >.  not  Sly.  th*  <1™;J«» 
tinker,  but  a  rich  lord,  po..eMing  in  abundance,  all  he  can  destre. 
having  many  «rvanU  to  wait  hit  order,  and  obey  hi.  command.. 

Hardly  le..  humorou.  it  the  attempt  of  Ca..io  to  persuade  himself 
that  he  i.  not  drunk.  How  it  calls  to  mind  the  ludicrou.  attempt  which 
m^.  J^Lie..  make  to  walk  .traight  when  under  the  mfluence  of 

drink: — 

-Do  not  think.  R«it1«n«i.  1  .m  drunk:  thi.  i.  my  ancient ;-  thi.  ^'Jiyj^^ 
Uni^iM^  i»  m\th  h.nd.-I  am  not  drunk  now;  1  c«»  .tuid  weU  enough 
and  »peak  well  enough."    Othello  2: 3- 

The  corrupting  and  en.laving  nature  of  strong  drink  i.  illu.trat«rf  in 
Th8  Tempest,  where  the  poor  half-Mvage  Caliban  who  ha.  been  a  kind 
of  Lage  King  of  an  island,  is  reduced,  by  drink,  to  the  most  abject 
slavery  and  in  this  condition  he  avows  himself  the  slave  of  the  man  who 
supplies  him  with  liquor.   He  My.  :— 

••TU  .wear  upon  that  botUe  to  be  thy  true  .ubject.  for  the  liquor  i.  not 

"J^Slshew  thee  every' fenile  inch  C  the  i.land;  and  I  will  kiss  thy  foot;  I 

'""I^'strth":?^  best  springs;  I'll  pluck  thee  berries;  I'll  fish  for  thee  and 
get  thee  wood."    The  Tempest  t:  t. 

And  when,  too  Ute.  the  poor  wretch  discovers  how  he  has  been  fooled. 
— he  cries:— 

"  What  a  thrice  double  ass 
Was  I  to  take  this  drunkard  for  a  god 
And  worship  this  dull  fool."    The  Tempest  y.  t. 

The  dehumanizing  effects  of  strong  drink  are  fearfully  portrayed  in 
the  person  of  the  convict  Bamadine.  in  Measure  for  Measure  :- 

« A  man  that  apprehends  death  no  more  dreadfully  but  as  a  d™«l;«  »|fP  • 
cardesHckless,  «d  feariess  of  what's  past,  pre^t  or  to  come,  msensible  of 
mortality,  and  desperately  mortal." 

Bamadine  is  part  all  hope  of  man  according  to  the  Provost  of  the 
jafl.    He  is  so  brutalized  by  liquor  that  he  has  been  mdifferent,  even  to 
the  execution  of  the  death  penalty  :— 
U 


>  ;     t 


1; 


i  I 


^H  SHAKSPBARB  AND  TBMPBRANCB 

•«miafw.mmforit:ittaUiBotmo»tdWn..t«ll.        tint,  for  Mtoi.  4^ 

Yet  there  U  ioine  loul  kft.  even  in  one  10  deeply  damned  m  Bam.- 
d«e  for  when  the  Frur-Duke  come,  to  bid  hlTpfepare  for  ««uZ, 

"'Friar,  not  I:    1  have  been  drinldnc  hard  aO  nivM  anrf  I  .mi  •.-_ 

And  the  Friar  sayi : — 

"A  creature  unprepar'd,  unmeet  for  death; 
And.  to  transport  him  in  the  mind  he  it 
Were  damnable."   Meat,  for  Mtat.  4: 3. 

Jdhril^T.T'"''  °^^'''"«'  P«^J»  (°««  o'  Shakspeare'.  sweetert 
!^H  ^?t  .*°"'u^  ""["•*•  ~"*""P*  '"^  *»>«  •"»"  who  drinks, 

♦h^H  ?*  "!T*,.*""'  '*'*'*'  *''**  »  ™"  *''*'^«»  to  dri"Wng  will  face 
tiie  dev.1  and  hell  to  get  liquor.  The  Kene  is  laid  in  a  room  in  Portia's 
house,  where  she  converses  with  her  maid.  Nerissa,  upon  the  respective 
qualities  of  various  suitors  for  her  hand  and  fortune :— 

Z""' vH^"*  f.'  ''°"  u*"  '"'""?  ^*"~"'  ♦'•*  *'"''*  •'^  Saxony-,  nephew? 

Por.  Very  vilely  m  the  morning  when  he  is  «)ber;  and  most  vile  J  in  the 
afternoon,  when  he  is  drunlc  When  he  is  best  he  is  a  litUe  w^Ie  Sm  «  J  jn  • 
and  when  he  is  worst  he  is  little  better  than  a  beast  than  a  nun . 

Ner    If  he  should  offer  to  choose  and  choose  the  right  casket,  you  should 

Por.    Therefore,  for  fear  of  the  worst.  I  pray  thee,  set  a  deep  phssTkhenish 

The  banquet  scene  on  Pompey's  galley,  in  Antony  and  aeoPATRA 

Zl^r^u^"^     JVi  ^"  ^'i'"^*"*  •"  «'"y'"»  off  Lepid«  is  said  to 
bear   a  third  part  of  the  world."    "The  third  part  then  is  drunk."  says 

than  the  English  and  that  this  difference  ought  to  give  them  an  advan- 
tage m  battle.    Tliey  attributed  this  difference,  in  part,  to  the  use  by 


SHAKSPBARS  AND  TEMPERANCE 


Vi 


tiie  EngUih.  of  beer  in  contrast  with  the  wine*  which  they  aied.    The 
Cooaubk  of  France  uyi : — 

"Dun  it  baUtilttI    When  have  they  this  mettle? 
la  not  their  climate  foggy,  raw  and  dull 
On  whom  at  in  despite  the  sun  looks  pale 
Killing  their  fruit  with  frowns?    Can  sodden  water 
A  drench  for  sur-rein'd  jades,  their  barley  broth. 
Decoct  their  cold  blood  to  such  valiant  heat? 
And  shall  our  quick  blood,  spirited  with  wine. 
Seem  frosty?"     Htn.  y.  s:  5- 

The  worse  than  beastliness  of  drunkenness  is  thus  referred  to:  — 

"Drunken  desire  mtist  vomit  his  receipt 
Ere  he  can  see  his  own  abomination."     Lucrtet,  St.  97. 

A  boy,  servant  to  Nym,  one  of  the  rowdy  followers  of  Falstaff, 
describes  his  master  thus : — 

"...  his  few  bad  words  are  match'd  with  his  few  bad  deeds;  for  'a  n«ver 
broke  a  man's  head  but  his  own,  and  that  was  against  a  post,  when  he  was 
drunk.     Hen.  V.  3:  i. 

In  Merry  Wives  of  Windsor  a  contemptible  faction,  with  FalstoflF  as 
their  leader,  is  referred  to,  and  this  same  Nym  is  one  of  the  party : — 

"  Marry  sir,  I  have  matters  in  my  head  against  you ;  and  against  your  cony- 
catching  rascals,  Bardolpb,  Nym,  and  Pistol.  They  carried  me  to  the  tavern 
and  made  me  drunk,  and  afterward  picked  my  pocket  .  .  .  though  I  cannot 
remember  what  I  did  when  you  made  me  drunk,  yet  I  am  not  altogether  an  ass. 
.  .  .  I'll  ne'er  be  drunk  whilst  I  live  again,  but  in  honest,  civil,  godly  company,  for 
this  trick:  if  I  be  drunk,  I'll  be  drunk  with  those  that  fear  God,  and  not  with 
drunken  knaves."    Merry  Wives  i:  i. 

An  odd  conceit  surely,  that  one  may  be  drunk,  without  harm,  if  only 
in  the  company  of  the  "godly,"— those  who  "fear  God,"  but  it  illustrates 
a  current  thought  of  those  times  and  one  not  yet  entirely  obsolete. 

It  is  Nym  also  who,  contemptuously,  says  of  one  of  the  drinking 
crew : — 

"  He  was  gotten  in  drink."    Merry  Whes  t:  3. 

In  answer  to  the  question— "What's  a  drunken  man  like  ?"  a  clowil 
answers : — 


376 


SHAKSPEARB  AND  TEMPERANCE 


'' 


'■-  I 


Immi 


"  Like  a  drowned  man,  a  fool  and  a  madman :  one  draught  above  heat  makes 
him  a  fool :  the  second  mads  him ;  and  a  third  drowns  him."    Twelfth  Night  i:  5, 

And  in  Romeo  and  Juliet  we  have  this  description : — 

"Thou  are  like  one  of  those  fellows  that,  when  he  enters  the  confines  of  a 
tavern,  claps  me  his  sword  upon  the  table,  and  says,  'God  send  me  no  need  of 
thee  I'  and  by  the  operation  of  the  second  cup,  draws  him  on  the  drawer,  when, 
indeed,  there  is  no  need." 

The- ill  effects  of  wine  and  strong  drink  are  variously  described,  or 
alluded  to,  in  the  following  passages : — 

"  I'll  heat  his  blood  with  Rhenish  wine  to-night."         Trot,  and  Cres.  5:1. 
"  Thou  are  going  to  Lord  Timon's  feast  ...  to  see  meat  fill  knaves  and 
wine  heat  fools."    Timon  i:  i. 
"Now  in  madness 
Being  full  of  supper  and  distempering  draughts 
Upon  malicious  knavery,  dost  thou  come, 
To  start  my  quiet."       Othello  i:  i. 

It  seems  that  the  idea  prevailed  in  Shakspeare's  day,  as  it  does  yet, 
that  clemency  should  be  extended  toward  one  who  commits  a  crime 
when  drunk,  for  in  King  Henrv  V.  we  have  this : — 

"  Enlarge  the  man  committed  yesterday 
That  rail'd  against  our  person :  we  consider 
It  was  excess  of  wine  that  set  him  on ; 
And,  on  his  more  advice,  we  pardon  him.    Hen.  V.  g:  g. 

We  have  seen,  in  Measure  for  Measure,  how  that  the  culprit  was 
permitted  to  continue  in  a  sottish  condition,  even  when  in  the  con- 
demned cell,  and  how  his  drunkenness  was  made  a  plea  for  putting  off 
his  execution.  Timon  of  Athens  alludes  to  the  same  thought  in  his 
harangue  against  thieves: — 

"Rascal  thieves 
Here's  gold.    Go  suck  the  subtle  blood  o'  the  grape 
Till  the  high  fever  seeth  your  blood  to  froth 
And  so  'scape  hanging."    Timon  4:  3. 

The  custom  of  social  drinking  and  of  drinking  in  hospitality,  is  thus 
referred  to : — 


"  I  have  very  poor  and  unhappy  brains  for  drinking :  I  could  well  wish  courtesy 
would  mvent  some  other  custom  of  enteruinment.".  .  .  "I  have  drunk  but  one 


SHAKSPBARE  AND  TEMPERANCE  277 

cup  to-night,  and  that  was  craftily  qualified  too,-and  behold  what  innovation  it 
makes  here:  I  am  unfortunate  in  the  infirmity  and  dare  not  Usk  my  weakness 
any  more."    Othello  2: 3. 

"  To  my  mind,  though  I  am  native  here 
And  to  the  manner  bom,  it  is  a  custom 
More  honor'd  in  the  breach  than  the  observance. 
This  heavy-head  revel,  east  and  west, 
Makes  us  traduced  and  -...-{'d  of  other  nations: 
They  depe  us  drunkards,  and  with  swinish  phrase 
Soil  our  addition."  jj  . 

The  splendid  advantages  of  a  temperate  life  to  health  and  morals  is 
nobly  set  forth  in  the  language  of  good  old  Adam  in  As  You  Likb  It. 
The  old  hero  says : — 

"  Though  I  look  old  yet  I  am  strong  and  lusty. 
For  in  my  youth  I  never  did  apply 
Hot  and  rebellious  liquors  in  my  blood : 
Nor  did  not  with  unbashful  forehead  woo 
The  means  of  weakness  and  debility ; 
Therefore  my  age  is  as  a  lusty  winter 
Frosty  but  kindly."    As  You  Like  It  2: 3. 

This  reminds  us  forcibly  of  Milton : 

"  O,  madness  to  think  use  of  strongest  wines 
And  strongest  drinks  our  chief  support  of  health, 
When  God,  with  these  forbidden,  made  choice  to  rear 
His  mighty  champion  strong  above  compare. 
Whose  drink  was  only  from  the  liquid  brook."  Samson  Agonistes. 

Shakspeare  further  testifies  of  the  virtues  of  temperance  :— 


"Ask  God  for  temperance;  that's  the  appliance  only 
Which  your  disease  requires." 


Hen.  VIII.  1: 


The  following  words,  addressed  by  Hamlet  to  his  mother,  refer  to 
another  evil  than  that  of  drinking,  but  are  equally  applicable  to  the 
virtue  and  power  of  abstinence  of  strong  drink:— 

"...  refrain 
And  that  shall  lend  a  kind  of  easiness 
To  the  next  abstinence :  the  next  more  easy ; 
For  use  almost  can  change  the  stamp  of  nature 
And  master  the  devil,  or  throw  him  out 
With  wondrous  potency.'    Hamlet  3:  4. 


HI 


378  SHAKSPBARB  AND  TBUPBRANCB 

This  also  is  a  tribute  to  the  value  of  temperance  :— 

"  For  au^  I  lee,  they  are  as  sick  that  surfeit  with  too  much,  as  they  that 
sUrve  with  nothing:  it  is  no  small  happiness,  therefore,  to  be  seated  in  the  mean: 
superfluity  comes  sooner  by  white  hairs,  but  competency  lives  longer." 

Mtr.  of  Ven.  t:  2. 

To  the  praise  of  water  as  a  beverage  we  have  this  passage  which 
makes  an  admirable  sentiment  or  "toast"  at  a  feast  :— 


'  Here's  that,  which  is  too  weak  to  be  a  sinner, 
Honest  water  which  ne'er  left  man  i'  the  mire." 


Tim.  of  Athens  i:  2. 


Thus,  Shakspeare  witnessed  against  the  use  of  strong  drink  on  all 
the  grounds  of  experience,  physiolc^,  and  morals,  and  recognized  with 
hi^  approval  the  practice  of  abstinence,  long  before  any  organized 
society  for  that  purpose  was  in  existence. 

The  poet  Cowper  went  still  further.  He  saw  the  evil  not  only  in  the 
use  and  customs  of  society,  but  also  in  the  chief  comer-stone  of  the 
whole  devil's  structure  of  the  drinking  system,— the  licensed  saloon— 
and  he  satirized  the  iniquitous  system  thus : — 

"  The  excise  is  fattened  with  the  rich  result 
Of  all  this  riot.    The  ten  thousand  casks. 
For  ever  dribbling  out  their  base  contents. 
Touched  by  the  Midas  finger  of  the  Sute, 
Bleed  gold,  for  Parliament  to  vote  away. 
Gloriously  drunk— obey  the  important  call ; 
Her  cause  demands  the  assistance  of  your  throats; 
Ye  all  can  swallow,  and  she  asks  no  more." 


GENERAL    INDEX 


l^e  subject!  f^v'.n  in  capiuls  and  small  capitals  refer  to  Scripture  Themes  ia 


AuTHoa's  Explanation,  117. 
Ambition,  119. 
Atonemsnt,  313. 
Attributes  op  God,  148. 

A  greater  than  genius,  11;  than  Solo- 
mon, 13. 

Aaron  the  Moor— an  infidel,  94. 

Abbott,  Lyman,  retribution  in  Shak- 
speare,  81. 

Abel,  SI ;  murder  of,  87 ;  blood  of  cries 
out,  171. 

Abraham  quoted  by  Shylock,  63 ;  bosom 
of,  59. 

Abstinence,  virtue  of,  377. 

Adam,  his  sons  my  brothers,  transgres- 
sion of,  191;  penalty  of,  196;  digged, 
330;  the  offending,  325. 

Adam  in  As  You  Like  It,  advantages 
of  temperance,  373,  377. 

Adversity,  uses  of,  341. 

Affliction,  343. 

Age,  old,  176,  311. 

Ahab,  comparison  with  Macbeth,  87, 98 ; 
covetousness  of,  death  of,  88. 

Alexander,  dust  of,  185. 

All's  well  that  ends  well,— scripture 
quoted,  56. 

All-seer,  that  high,  168. 

All-souls  day,  168. 

Amen,  could  not  say  it,  109. 

Ambition,  sin  of  fallen  angels,  119; 
dreaips  of,  130. 

Angel,  man  like  an,  185. 

Angels,  fall  of,  165. 

Angelo,  10;  as  a  judge,  a  criminal,  71 ; 
hypocrisy  of,  163. 

3?9 


Angelus,  the,  77. 

Antonio,  63 ;  his  hatred  of  the  Jew,  67; 

weakness  of,  68;  saved  by  Portia,  74; 

his  life  not  sacrificed,  100. 
Antony,  Cleopatra  and,  94. 
Apostle,  prophets  and,  219. 
Arbitrator,  time  the  common,  175. 
Archbishop,  peace  and  the,  51,  203, 
Ariel  in  Isaiah  and  The  Tempest,  SS. 
Arthur,  bosom  of,  59. 
Ascension  day,  133. 
Assumptions  of  Jesus,  13. 
Atonement,  70,  213. 
Authority,  men's  brief,  71,  168. 
Ave  Marias,  319. 

BEtiEFs.  318. 
Betrayal,  349. 

Baccha^ialian  feast,  274. 

Bachelor,  married  man  and,  191. 

Bacon,  reference  to,  6. 

Banished,  a  word  the  damned  use  ia 
hell,  157. 

Battle,  few  die  well  who  die  in,  as&. 

Beaufort,  immortality  and,  113,  137; 
his  death-bed  scene,  321. 

Beauty,  effect  of  time  upon,  179. 

Beecher,  369. 

Beer,  English,  compared  with  French 
wine,  375. 

Bell,  its  call  to  worship,  217. 

Best,  betrayed  the,  249. 

Bible,  the  one  book  of  England,  Vllf  ; 
necessary  to  Shakspeare,  XIII;  doc- 
trines of,  3;  words  interpreted,  37; 
King  James  translation  of,  IX,  qr; 


a8o 


INDEX 


the  highest  inspiration  to  Poet,  27; 
characters  of  23,  62;  striking  pic- 
tures from,  5a;  histories  of,  stained 
by  sins  of  heroes,  79;  versatile  em- 
ployment of,  51-^. 

Birds  climbing  high,  120. 

Bishop,  religion  of  a,  161. 

Blind  man,  miracle  of  healing,  34. 

Blood,  of  Abel  cries  out,  23,  51,  171; 
will  have  blood,  236. 

Book  of  life,  154;  name  blotted  from, 

251. 
Book  of  Numbers,  52. 
Books  in  brooks,  196. 
Bribery,  198. 
Brother,    better    to    die    than    sister's 

shame,  72. 
Brutus,  wife's  view  of  marriage,  84- 
Buckingham,  address  of,  141 ;  forgiving 

spirit  of.  146. 
Bunyan,  IX. 

Burial,  a  Christian,  219. 
Bums,  his  need  of  a  saviour,  15;  true 

to  the  truth,  269. 

Charity  —GrNEROsiTY  —  Hospitauty, 

121. 
Chastity.  253. 
Christ,  166. 

Christian  Ministry,  122. 
Clergymen,  122. 
Comfort,  124. 
Conscience,  125. 
Constancy,  140. 
Contentment,  191. 
•^oRRuKfioN,  Official,  198. 
Courage,  209. 
Curses,  226. 

Cxsar,  death  of,   13;  turned  to  clay, 

185;  shall  he  lie,  210. 
Clin,  51,  62,  87;  go  wander  with,  227; 

the  spirit  of,  256. 
Cal'ban  enslaved  by  drink,  273. 
Cahimny,  no  greatness  escapes;  against 

virtue  swears,  240,  241. 
Calvinism  in  Othello,  57. 
Camel,  needle's  eye  and,  52. 
Candle-light,  180. 
Canonized  as  a  saint,  228. 


Cardinal,  death  scene  of,  221. 

Carlyle  quoted,  XIV;  on  the  Poet's 
breadth  of  moral  thought,  80. 

Cassio,  drunk,  57 ;  victim  of  lago's  plot, 
102;  denounces  wine  as  a  devil,  272. 

Chalmers'  life  of  Shakspeare  quoted,  5. 

Character,  greater  than  genius,  Emer- 
son on,  II ;  personality  of,  12;  knows 
no  self,  14. 

Chaste,  Isabella,  234;  Desdemona  and 
Lucrece,  76. 

Chastity  the  jewel  of  our  house,  354. 

Chatterton,  his  tragic  end,  15. 

Child,  a  thankless,  153. 

Children,  sins  of  fathers  and,  60,  335. 

Children's  children  in  cause  of  peace, 
202. 

Christ  in  the  sonnets,  XI ;  wrote  noth- 
ing, 13;  assumptions  of,  12,  15; 
world's  need  of,  14;  spirit  of  ad- 
vancing, 16;  references  to,  33;  com- 
manding the  devil,  58;  Judas's,  all 
hail  to,  160,  350;  sepulchre  of,  cross 
of,  166;  blood  of,  3is;  mother  of, 
319. 

Christian,  ministry  of,  133;  ensign  of 
cross  of,  166;  burial,  319. 

Christianity  and  the  drama,  3,  103. 

Choir  sings  Te  Deum,  317. 

Church,  marriage  and  the,  187-189; 
bell  of,  137 ;  inside  of  a,  226. 

Churchman,  meekness  becomes  a,  191 ; 
prayer  of,  218. 

Clarke's  concordance  quoted,  19. 

Clarence,  Duke  of,  his  dream  of  the 
after-life,  1 11. 

Clergy,  123;  responsibility  and  duty  of, 
123. 

Clergyman,  false  and  deceitful,  a,  143. 

Clemency  to  criminals  in  drink,  276. 

Cleopatra,  69. 

Coleridge,  64,  75.  83,  94,  98. 

Columbus,  Shakspeare  the  literary,  7. 

Comfort,  other  than  this  world,  163. 

Consistency  of  pastors,  122. 

Conscience,  81,  90;  cowards  and,  123, 
137 ;  bom  of  love,  125 ;  a  dangerous 
thing,  130;  pangs  of  in  death,  137; 
Macbeth,  a  study  of,  139;  thousand 
tongues  of,  333. 


INDEX 


aBi 


Constancy,    lack    of    fUls    men    with 

faults,  141- 
Constantine,  mother  of,  ait). 
Contrite  tears,  226. 
Cordelia,  heroism  of,  74. 
Coriolanus,  94. 

Cotter's  Saturday  night,  15,  269. 
Cowards,    conscience   makes    us,    123, 

126. 
Cowper  on  revenue  from  drink,  278. 
Cromwell,  13,  I7i- 
Cross  of  Christ,  166. 
Crown,  heavy  to  bear,  192,  264. 
Curse  of  ignorance,  164. 
Custom    of    drinking    condemned    by 

Hamlet,  277. 
Cymbeline,  94. 

Darkness,  i8a 

Death  and  the  Future,  I3>- 

Death— Preparation  for,  138. 

Deceit,  142. 

Deceitfulness  of  Sin,  237. 

Devil,  230. 

Dying— Testimony  of  the,  249. 

Damnation,  167. 

Daniel,  13. 

Dante,  103. 

Darkness,  of  ignorance,  164;  prince  of, 
230. 

Divid,  Goliath  and,  63. 

Death,  the  future  and,  131,  137;  no  de- 
ceit in,  133 ;  horror  of,  13S ;  Hamlet's 
soliloquy  on,  135;  levels  all  men, 
134;  life  the  fool  of,  179. 

Deborah,  93;  Joan  of  Arc  and,  53; 
sword  of,  219. 

Desdemona,  Mrs.  Jameson  on,  74;  hus- 
band  first  in   honor,  76;    death  of, 

^    222. 

Devil,  argument  of,  73 ;  >s  comic  in  the 
old  plays,  95;  his  policy,  144;  gar- 
ment of,  158,  231 ;  crest  and  horn  of, 
162;  the  eternal,  shame  the,  230. 

Dickens,  Charles,  7,  9;  on  Hen.  VIII, 
8s. 

Disraeli  quoted,  3. 

Dives  in  hell,  158. 


Divine  Being,  terms  of  used  by  Shak- 

speare,  20. 
Divine,  perception  of  the,  165. 
Divinity    shapes    our    ends,    a    king 

edged  by,  208. 
Dogberry  stil!  lives,  9. 
Dorcas,  93. 
Drama   fails   to   express   Christianity, 

103- 
Dreams,  stuff  they  are  made  of,  134. 
Drunk,  with  those  who  fear  God,  275. 
Drunken    tailor    in    Taming    of    the 

Sh'ew,  272. 
Dryden,  5. 

Effects  of  Sin,  236. 
Eternity,  131. 

Eaton,  IX ;  on  Judas  and  Jezebel,  92. 
Edward,  King,  his  hope  of  heaven,  ill. 
Egyptians  in  a  fog,  164. 
Elijah,  13. 

Ellis  on  Christ  in  Shakspeare,  XI,  64. 
Emerson,  7,  11,  on  a  divine  person,  12. 
Ency.  Brit,  quoted,  7,  8,  27,  93. 
England  a  country  of  the  Bible,  VIII. 
Erasmus,  England  and  the  Bible,  VIII. 
Error,  texts  quoted  to  support,  144. 
Eternal,  life,  134;  wrath  of  the,  224. 
Eternity,  112,  113,  131,  174.  261. 
Eve,  247 ;  legacy  of,  233 ;  apple  of,  237. 
Everlasting  fire,  156. 
Evil,  self-destruction  of,  95;  preachers 

to  us,  139. 
Excommunication,  228. 
Explanation  of  Scripture  Themes,  117. 

pAITHFUtNESS,  ;»DSH1P,   CONSTAN- 

CY,  140. 

Falsehood,  Flattery,  Deceit,  142. 
Forgiveness,  Pardon,  145. 
pRreNDSHip,  140. 
Future,  the,  131. 

Faith,  no  tricks  in,  141,  162;  trust  not 

him  who  breaks  it,  249. 
Fall  of  man.  2,'6. 
False  witness,  236. 


INDBX 


Falsuff,  9;  T.ine  on,  79;  bad  end  of, 

m;   death  of,   ij;;  ,dviie  sons  to 

drink,  370. 
Father,  sin  of,  on  children,  60,  335- 

killed  by  son  in  battle,  359;  consult 

in  marriage,  188. 
Father  of  Our  Lord,  166. 
Festive  drinking  condemned,  376. 
Filial  ingratitude,  153. 
Fires  in  hell,  137,  159. 
Flattery,  sin  of.  143. 
Force  of  fate,  Ruskin  on,  91. 
Forgiveness.  14s;  not  if  offence  con- 

tinues,  146, 
Friends,  140-143. 

GENtBOSITY,   131. 

God's  Attwbutes,  14& 

God  Ouh  DrnwcE  awd  Heip,  140. 

God  Ot«  TausT-NoT  Man,  150. 

GU)«V— WOBlDtV,  364. 

Goto,  Money,  isa 
Grace  Befobe  Meat.  153. 
GHATiTtnw,  iNctATnuDE,  153. 
GUEF,  341. 


Garibaldi,  14. 
Galileo,  9. 

Genius,  universality  of  Shakspeare's.  7, 
8;  Emerson  on,  7;  Ruskin,  9;  not  a 
creator,  9;  not  iconoclastic,  10;  not 
«o  great  as  character,  11;  cannot 
give  peace,  ii;  impersonal,  13; 
wealth  of.  16;  reform  and,  not 
bounded  by  its  messenger,  369. 
Ghost  in  Hamlet  suggests  the  after- 

life,  107. 
Gladstone,  14. 

Globe,  dissolution  of  the,  134, 
Glory,  wretchedness  follows.  364. 
Goethe.  103. 

God  in  Shakspeare.  V.  19;  why  denied 
or  Ignored,   19;  numerous  illustra- 

tions  of,  30.  31. 

God,  attributes  of.  148;  foigiveness  of. 
us;  supremacy  of,  149;  „o  wing, 
to  fly  from,  ,6^  ,86;  his  angels, 
199;  maker  of  marriages,  199;  re- 
ligious    oaths    and,    3,4;    avenges 


wrong  openly,  17,,  ,73.  j„,tjp^      ^ 

judgment  of,  i48i  169,  3ca. 
Gold,  15,,  ,73,  ,j^  afij 

Golgotha,  54. 

Goliath,  David  and,  63. 

Goodness,  353,  356. 

Gough,  9,  369. 

Grace  before  meat,  a  soldier's,  iia 
tyrant.  General.  14. 
Green's  history  quoted,  VIII 
Guilt,  133. 

Hate,  336. 

Heaven,  154. 

Heaven,  Recocnition  in,  icc 

Heu.  326.  ''■ 

HoAtDED  WEAtTH,  360. 

HoNoa,  309. 

HoNoas— WoaioiY,  364. 
Hope,  igg^ 

HOSPITAUTY,   131. 

HUMItrTY,  191. 

Hypocrisy.  Insincbwty,  160. 


Hagar  in  Merchant  of  Venice.  6a 
Hamlet  a  gphi„x.  64:  compared  with 
Job  66;  „^  of  scripture  in.  53;  his 
death  involved  in  the  tragedy.  g6- 
immortality  and.  104-9,  IM-  no 
doubt  of  future  suS Vilot^ 
sceptic.  ,08;  address  to  his  mother. 

Hand,  no  soul  in  a  marble.  11 
Handel,  7. 
Harvey,  9. 

"for'^rJT""'  ''*"'"•*''  substituted 
for  God,  19:  cannot  be  dramatized. 
103;  recognition  in,  155;  a  summons 
to,  131;  everlasting  gates  of,  203 

Hel«ma,  quo"s  scripture,  56;  her 
patient  love,  75. 

Hell,  stage  cannot  represent  it,  103: 
£*"'.*««««  ot  fire  of,  damned 
^shed  in.  everburning,  154^;  „i„. 
ister  of,  337. 

Henry  VIII,  why  play  does  not  brimr 

sin  to  judgment,  85. 
Herod  and  the  wise  men,  death  of,  ca 
Herodias  and  Udy  Macbeth.  93. 


INDEX 


*^ 


Heroes  uid  heroines.  67-8;  Mrs. 
Jameson  on,  69;  Ruskin  on,  68,  7S- 

Hillts.  & 

Historical  plays,  the,  and  the  script- 
ures, 99. 

History  of  man  in  plays,  95. 

Holy  writ,  163;  proofs  of,  23a. 

Homer,  103. 

Honest,  one  in  two  thousand,  312. 

Hooker,  IX. 

Hudson  quoted,  58;  on  the  sources  of 
the  Tempest,  54;  improved  text  by, 
79;  note  of,  on  the  word  Heaven, 
17a;  on  the  Lord's  prayer,  348. 

Hugo,  note  by,  on  Hamlet,  64. 

Hunt,  Prof.,  & 

Hundredth  Psalm,  183. 

Husband  an  elm,  187;  widow  cries  to 
God  as,  169. 

ICNOtANCE,  PaiDE,   164. 
IlX-GOnSN    WtAtTH,   360. 

Ikgkatitude,  152. 

Injustice,  169. 

Innocence,  165. 

Insecurity  and  Efeects  or  Sin,  236. 

iNsiNCEBiTv,  160. 

lago,  9,  83;  skill  and  cunning  of,  loi, 
102;  treachery  and  death  of,  99;  use 
of  wine  to  effect  purpose,  271. 

Ice,  chaste  as,  239. 

Iconoclast,  genius  no,  10. 

Ideals,  fall  of  our,  73. 

Immortality,  stage  not  adequate  to  it, 
103;  in  the  play  of  Hamlet,  104-6; 
Paul  quoted,  104;  assumed,  104; 
Macbeth's  testimony  on,  104;  Beau- 
fort's death-bed,  Lorenzo's  solilo- 
quy, 112;  Romeo  and  Juliet,  no; 
Slu^peare's  personal  testimony, 
113*  no  final  word  on,  112. 

Imogen  her  heroic  qualities,  75. 

Incarnation  of  the  Christ-spirit,  16. 

Infidel,  no  decent  one  in  Shakspeare, 

94- 
Inheritance  law  of,  51. 
Irreverent  use  of  scripture,  57. 
Isabella,  the  importunate  widow  and, 

60;  a  true  preacher,  71 ;  sacrifice  for 


her  brother,  72;  tM  of  ideals,  73: 
Schlegel  on,  74;  mediatorial  charac- 
ter of  the  play,  74-100. 

Jesus,  Chust,  SAvioin,  166. 
Judgment,  167. 
Justice,  iMjusna,  169. 

Jacob,  Shylock's  pattern  and  saint,  61^ 

208. 
Jael,  parallel  of  in  the  Tempest,  56- 
Jameson  (Mrs.),  quoted,  68,  88. 
Jephthah,  sacrifice  of  daughter,  52. 
Jerusalem,  132. 
Jesus,  22  (see  Christ). 
Jezebel,  compared  with  Lady  Macbeth, 

89;  compared  with  Judas,  Eaton  on, 

92. 
Joan  of  Arc,  53,  256. 
Job  compared  with  Hamlet,  65,  66. 
John  the  Baptist,  93. 
Johnson,  Samuel,  on  Henry  VIII,  85. 
Judas,  SI,  62,  166;  kisses  of,  14^.  161; 

hypocrisy  of,  160;  worse  than,  228; 

a  kissing  traitor,  250. 
Judge,  the  supernal,  168;  no  king  can 

corrupt,  170. 
Judges,   defeat   judgment   when   they 

steal,  198. 
Judgment,  sin  and,  83 ;  here  as  well  as 

hereafter,  109,  169;  word  of,  221. 
Judgment-day,  56;  trumpet  of,  167. 
Juliet,   heroism  of,   75;   an  unstained 

wife.  190. 
Just,  quarrel  of  the,  thrice  armed,  171. 
Justice,  of  God,   148;  gold  and,   iij8; 

uneven  in  the  world,  173;  salvation 

not  in,  205. 

Knowledge,  173. 

Katharine,  wifely  devotion  of,  76. 

Keats,  7. 

Kings,    must    die,    131,    136:    divinity 

hedge  a,  208. 
King  of  Kings,  167,  218. 
King   James    BiHe,    translation,    lofty 

style  of  introduction.  IX,  27. 
Kingdom,  the  infernal,  revenge  from, 

226. 


if 


f  i. 


a84  lixDnx 

Kitsei.  tyrants,  i6i  (lee  Judu). 
Knaves,  all  arc,  3j6,  351. 

L188ONS  raoM  Nature.  196. 
Light  and  Darkness,  i8a 
Life.  Time,  174. 
Love,  181. 
Lust,  183. 

Laban,  Shylock  and,  63. 
Lady  Anne,  unnatural  yielding  to  Rich- 
ard, 98. 
Lamartine,  79. 
Lamb,    Charles,    on    Shakspeare   and 

Jesus,  13. 
Lapidoth,  the  dame  of,  53. 
Law,  the  will  not  subject  to,  186. 
Lear,  his  daughter's  sacrifice,  74. 
Lees,  369. 

Lie,  shall  Cxsar?  sio. 
Life,  a  miracle,  174;  nobleness  of,  176; 
a  walking  shadow,  174;  brevity  of, 
175;  death's  fool,  179;  humble,  193; 
every  man  holds  dear,  310;  book  of, 
name  blotted  from,  351. 
Light,  an  enemy  of  evil,  i8o. 
Lincoln,  Abraham,  13,  14. 
Livingstone,  13. 
Lorenzo  and  Jessica,  113. 
Love,  incarnated.  16;  altereth  not,  181. 
Lowell  on  Hamlet,  64. 
Lucifer,  24. 

Lucrece,  chastity  of,  76. 
Luther,  13. 

Malice,  339. 

Man,  183. 

Man's  Responsibility,  180. 

Marriage,  187. 

Meekness,  Contentment,  Humiuty, 

191. 
Mercy,  193. 
Miracles,  195. 
Money,  150. 

ifabie,   Hamilton   W.,  5,   on  Joan  of 

Arc,  t.1. 
Macbeth,  play  of,  compared  with  Ahab 

and  Jezebel,  87-89;  conscience  of,  98; 


nemeiis,  83;  varioui  views  of,  91; 
the  after-life,  109;  a  study  on  con- 
science, 139;  soliloquy  of,  on  judg- 
ment here  and  to  come,  169;  strong 
drink  and  crimes,  371. 
Macbeth,  Lady,  womanliness  of,  69;  re- 
morse, the  red  stain  of  blood,  90; 
good  in  her  character,  91 ;  conscience 
and  remorse,  331. 
Macduff,  Malcolm  and,  98. 
Mahomet,  319. 
Maid  of  Orleans,  53,  356. 
Malice,  133,  339. 

Man,  state  of,  like  a  kingdom,  138;  in- 
gratitude of,  153 ;  not  passion's  slave, 
140;  God  made  him,  183;  nobleness 
of,  i8s;  holds  life  dear,  310;  fall  of, 
336;  true  to  self,  never  false  to 
others,  353. 
Manuscripts,  destroyed  by  fire,  V;  of 

Shakspeare  unknown,  4. 
Marble  hand,  11. 
Marriage,  75,  84,  99.  100,  183-18& 
Mary,  Mother  of  Jesus,  313. 
Mary  and  Martha.  93. 
Martyrs,  self-sacrifice  of,  14. 
Master,  Jesus  as,  166. 
Measure   for   measure,   a   mediatorial 

play,  74,  100. 
Mercy,  99,  100,  193,  194,  337. 
Michelet,  19. 
Millet's  Angelus,  Ty. 
Milton  IX,  103 ;  on  wine  drinking,  277. 
Mind,  310;  torture  of  the,  331. 
Miracle,  Shakspeare's  works  not  a,  51 ; 

reference  to,  195,  355. 
Miriam,  93. 
MoflTatt,  13. 
Moral  action  of  plays,  78;  Carlyle,  on, 

80;  Moulton  on,  80. 
Moral    problems    of   the    four   grand 

tragedies,  93. 
Moral  inculcation  of  plays,  Tj. 
Moses,  13. 

Moulton,  warning  to  readers  of  Shak- 
speare, 77 ;  on  the  morals  of,  81 ; 
sees  good  points  in  Lady  Macbeth, 
91. 
Mozart,  genius  of,  7,  10. 


INDEX 


Murder  will  speak,  lafi, 

Music,  317. 

Mystery  of  Sbakspcare,  4. 

Natuijc's  Lessons,  ig6. 

Naboth,  vineyard  of,  88,  89. 
Needle's  eye,  34,  53,  363. 
Nemesis,  83. 
Nero  and  Paul,  93. 
Newton,  9. 
Numbers,  book  of,  53. 

Oaths,  314. 

Obcdunce,  197. 

Officiai,  CouupnoN,  Ty«anhy,  198. 

Old-age,  176,  311. 
Olive-branch,  303. 
Omnipotence  of  God,  148. 
Ophelia  and  immortality,  108. 
Othello,  74.  98,  loi,  371. 

Paidon,  145. 
Patiencb,  Hope,  199. 
P£ACE,  201. 
PENrrENCE,  234. 
Practices,  Reucious,  218. 
Praise,  Thankfulness,  303. 
Prayer,  204. 
Pride.  164. 
Providence,  208. 

PtJRiTY,  Honor,  CointACE,  REcrrruoE, 
209. 

Parallel  passages,  explanation  of,  33. 
Pardon,  not  ransom,  72;  corrupted  by 

gold,  151. 
Parody  of  I  Cor.  2 : 9,  61. 
Patience,  300;  on  a  monument,  261. 
Pastors,  133,  124. 

Paul,  13,  14,  55,  61,  84.  93,  103,  108. 
Perjury,  173. 
Personality,  of  Jesus,  13 ;  of  all  great 

characters,  12,  13. 

Philosopher,  cannot  endure  tooth-ache, 
201. 

Physician,    the    divine    more    needed 
than,  231,  334. 


4S 


Pilot.  (53. 

Pity  the  virtue  of  law,  194. 
Pious  phrases  used  by  irreligious,  57. 
Pirate,  a  sanctimonious,  161. 
Plays,  not  written  as  literature,  6;  re- 
ligion in  plots  of,  94. 
Poe,  9. 

Poems  of  Shakspeare,  61,  76. 
Portia,  heroic  qualities  of,  74,  99;  her 
contempt     for    a     drunkard,     374; 
Brutus',  her  view  of  marriage,  84. 
Pound  of  flesh,  strange  contract  of,  68. 
Prayer,  book  of,  in  pocket,   162;   for 
the  dying.  137;  unfruitful,  182.  307; 
sweet    sacrifice,    305;     Buckingham 
and,  146. 
Priests,  217. 
Princes,  177. 

Prison,  compared  to  the  world.  52. 
Prodigal.  51,  62  (see  Parallels). 
Providence.  The  Tempest,  55. 
Puritans,  IX. 
Purity,  its  shock  at  sin,  71. 

Quality  of  mercy,  194. 

Quarrel,  171,  203. 

Quickly,  Mrs.,  quotes  23rd  Psalm.  58. 

Recognition  in  Heaven,  155. 
Rectitude,  209. 

Redemption,  Atonement,  213. 
Reucious  Vows  and  Oaths,  214. 
Religious  Observances,  Worship,  217. 
Religious  Beliefs,  Practices.  Supe«- 

stitions,  218. 
Remorse.  221. 

Repentance,  Penitence.  224. 
Responsibility,  Man's,  186. 
Revenge,  Curses  Hate,  226. 

Ransom  for  man,  73,  213. 

Ravens,  He  that  feeds  them,  33,  208. 

Redeemer,  in,  166.  213. 

Redemption    by    Christ's    blood,    213; 

damned   without,   228. 
Rees,  on  St.  Paul's  shipwreck,  55. 
Religious  element  in  Shakspeare,  why 

ignored,    3;    blindness    of    literair 

world  on,  19. 


INDBX 


i    M 


Kcnbnuidt.  7,  ta 

Reputation,  ait,  j^t. 

Rctribtttion,  81. 

Rich  mui  in  hwva,  57;  Latanii  vtd. 

Riches,  ass,  ^60. 

Richard  II,  lingular  aUution  to  tcrip- 

ture,  sa. 
Richard  III.  96;  nemetii  and,  8a;  the 

after-life  and.  in ;  not  a  Kcptic,  97. 
Richmond,  gB. 
Roderigo,  loa. 

Romeo,  courage  not  strong,  75. 
Romeo  and  Juliet  and  the  after-life. 

iia 
Rosseau  on  Jesus  and  Socrates,  13. 
Ruskin,  9,  75,  So,  91. 
Ruth,  93. 

Salvation,  aagi 

Satan,  Devil,  330, 

Savioui,  166. 

SoupTUREs,  aja. 

Sin,  Sinners,  23a. 

Sin,  Insecurity  and  EmcTs  or,  ajfi. 

Sin,  Tendency  and  DecEnruiNtss, 

337. 
Sinners,  33a. 
Slander,  Mauce,  339. 
Sorrow,  Grief,  Sympatbt,  341. 
Soul,  244. 
Suicide,  346. 
Superstitions,  ai8. 
Sympathy,  341. 

Sacrament,  217. 

Sacred  writ,  333. 

Sacrifice,  13;  of  prayer,  305. 

Samson,  348. 

SanUyana,  article  by  quoted,  3, 103. 

Saviour's,  the  world's  need  of  its,  14. 

Savonarola,  13. 

Scherar,  104. 

Schlegel  quoted,  53,  64.  74,  78,  Sot  85, 

113. 

Scott,  9. 

Scripture      and      Shakspeare      in 
Parauel  Columns,  33. 


Paiauh  Pauaou— 
Pc«:e  makers.  Word  a  lamp^  G 
rock,  I>catf«qr  this  tcnple, 
not.  Weak  things  chosen,  Bu] 
truth.  Good  for  evil,  33. 
Pray   for  enemies,   Lovt  bd« 
all.    Chastenfaig,    Mot*    and 
Beam,  Slow  to  anger,  Camel 
the   needle's  qre,   house  div 
Baptism.  All  are  sinners,  The 
and  the  fruit.  Sins  that  are  sa 
34- 
Salvation  neglected,  Life-saving 
losing.  Not  justified  by  law.  Ca 
under  a   bushel.    Love  and 
God's  right  hand.  Everlasting 
Bowels    of    mercy,     Ministe 
spirits.    Showers    from    hea 
Snow  in  harvest,  Lord  of  Hei 
and  earth.  35. 
Asking  and  receiving  not,  Rudi 
speech— Paul,  Signs  01  the  tii 
Wisdom's  voice  «n  the  street,  ( 
our  witness,  God  in  marriage,  ' 
spots  of  the  leopard,  A  child  f< 
king.    Doing    right    and    wn 
God's  arm  saves.  The  book  of  ; 
To  everything  a  season,  36. 
Cedars  of  Lebanon,  Baptism.  Sp« 
Jng   by   parable.    Rich    man    1 
Lazarus,  Burabbas  preferred,  B 
zebub,    Legions    of    Angels.    ' 
slaughter  by  Herod.  Mothers  wt 
ing,   Herod  and  the  men  of 
east.  Prodigal  son,  37. 
Born  blind.  Sight  and  sin.  No  g< 
things  from  Nazareth,  Devils  enl 
ing  swine,  The  betrayal,  38. 
Pilate's      handwashing,      Golgot 
Judgment,  graves  opened,  Lovi 
darkness.   Death   destroyed,  Di 
of  death.  Light  in  death,  39. 
The  certainty  of  death.  Brevity 
life,  Man's  days  a  shadow,  Lor 
ing  for  death.  Days  swifter  thar 
shuttle.  Death  is  gain.  Dyine  dai 
The  fruit  of  chastening,  Not 
power,  Prince  of  this  world,  T 
strait  gate.  Trust  in  princes,  40. 


INDEX 


I  lunp^  God  • 
temple,  Fear 
KMcn,  Buy  tht 
.  33- 

>ove  bdiercth 
ote  and  the 
T,  CtincI  and 
ooM  diTided, 
acn.  The  tre« 
lat  arc  Marletr 

ife-taving  and 
>y  kw.  Candle 
>ve  and  law. 
rerlatting  joy. 
Ministering 
rom  heaven, 
rd  of  Heaven 

not,  Rude  in 
oi  the  times, 
e  street,  God 
narriage,  The 
A  child  for  a 
and  wrong, 
book  of  life, 
•n,  36. 

rtism,  Speak- 
h  man  and 
iferred,  Beel- 
Angels,  The 
others  weep- 
men  of  the 

lin.  No  good 
Devils  enter- 
1.38. 

Golgotha, 
Tied,  Loving 
royed.  Dust 
»th,  39. 
,  Brevity  of 
idow,  Long- 
irifter  than  a 
Dyine  daily, 
ng,  Not  by 
world.  The 
inces,  40. 


Good  coimMl,  A  tood  name,  Comrt- 
m  the  cost.  Good  words  from 
•ood  bcarti,  Aa  evil  tongue,  A 
rolling  stone.  The  tins  of  youth,  A 
just  balance,  41. 
Thoma  and  snares,  The  way  of  a 
fool.  A  wise  man.  Sin  will  find  us 
out.  Sins  of  Cithers  upon  children, 
riches  unsatiifyinc.  The  Leviathan, 
God's  glory  in  the  heavens,  4a. 
Manna    in   the   wilderness.   Jacob's 
•Uff.  Too  mach  boney.  False  m 
water,     Pear     not.     Temptation. 
Father  against  son.  Vipers,  Poison 
of  adders.  Tongues  of  serpents,  43. 
Dog  to  his  vomit.  Job's  despair.  The 
fat  and  the  lean  kine,  A  witch  not 
to  live,  Satan  an  Angel  of  light. 
Lucifer   fallen.   Legion  of  devils. 
Satan  quotes  scripture,  44. 
Prince  of  the  world.  Slanderous  ai 
Satan,  Poor  as  Job,  Wounds  of  a 
friend.     The    righteous     flourish, 
God's  mercy  on  whom  He  will. 
The  law  against  murder.  Calling 
evil  good.  Mischief  returns,  Law 
against  theft.  Touching  pitch  de- 
fileth.  45. 
Uving  in  danger.  Bulls  of  Bashan, 
The  law  of  inheriunce.  The  ten 
commandments.  Garden  of  Eden, 
Woman  and  the  serpent,  Fall  of 
Adam,  Birth  of  Cain,  Murder  of 
Abel,  The  voice  of  brother's  blood, 
Curse  of  Cain,  Noah  and  the  Ark, 
46. 
The  law  of  kinship,  Flame  and  fire, 
A  ruler  must  be  just,  Jacob  and 
Uban,   Jael,   Samson's   slaughter, 
47. 
Samson  and  the  city  gates,  Jepth- 
thah's  vow.  Goliath's  stoff,  David 
kills  Goriath,  The  Queen  cf  Sheba. 
The  overheated  furnace,  Daniel  to 
judgment,   The   marriage   injunc- 
tion, 4& 

Scriptures,  35.  Si,  S6.  81,  9ft  104.  117. 
144.  33a. 

Selections  for  Scripture  themes- 
method  of,  117. 


atf 


Self-sacrificing,  men  are  nrcly,  14, 

Sermons  in  stones,  175,  igfi^ 

Shakspeare.  was  he  a  Christian?  VII: 
an  orthodox  believer,  VII,  Xlccdnca- 
t«on.  personal  faith,  dependence 
upon  Bible.  X;  Bible  necessary  to. 
Cod  m,  XII;  Carlyle  on,  XIV.  80  • 
greatness  of  works,  3;  mystery  of,  4; 
not  a  miracle,  5;  authenticity  of 
*orks.  5,  6;  timeliness,  s;  relation  to 

H^'.  l»"'*'"'*  «^"«'ce.  not  acci- 
dental, VII:  everything  in.  8;  univer- 
«  ity,  8,  51 ;  discovered  characters  for 
ail  time,  9;  not  an  iconoclast,  10; 
general  knowledge  of  scripture,  jf 
mterpretations  of  scripture.  27;  Galv- 
anism m,  57;  moral  inculcation,  77. 80: 
heroes,  67,  68;  heroines.  68.  75:  fe- 
male  characters  good  and  bad,  68- 
-p  religious  framework  in  plays.  96  • 
lid  not  dramatize  religion,  94,  103' 
immortality,  ,03-113:  13,-138;  geni," 
in  advance  of  reforms.  369;  witne,. 
against  strong  drink,  270 
Sharp,  Prof.  F.  C.  quoted,  VI,  9,,  ,oa, 

Shepherd,  happy  life  of,  192. 

Shylock,  hatred  and  revenge  partly 
justified.  68;  Jacob,  his  saint  and 
pattern,  6a;  Antonio  not  Christian  to- 
ward, 6,. 

Sin,  judgment  and,  83.  85,  1,7;  brings 
Its  own  punishment,  81;  angels  fell 
by,  1,9;  not  an  accident,  74;  hell- 
bom,  ,63;  none  in  heaven,  ,83;  oath- 
breaking,  ai6:  visited  on  children, 
'3S;  Eve's  legacy.  235;  three  men  of, 
222;  a  mocker,  232;  some  rise  by, 
333 ;  one  provokes  another,  237. 
Sinners,  all  are,  J37,  332. 

Snider's  commentaries  quoted,  82,  95 

99-102. 
Snow,  222,  239. 
Socrates,  ,3. 
Soldiers.  139,  259. 
Solomon,  ,3,  18,,  248. 
Son.  killed  in  battle  by  father.  259; 

should  choose  his  own  wife,  ,88. 
Sonnets,  Christ  m  the,  XL 


749145 


jG8 


INDBX 


SfMiTow,  fan  of,  33;  he  that  eaten  tor, 
ao8. 

Sprague't  notet  quoted,  ja. 

Stafford,  Rev.  Dr.,  icet  good  in  Mac- 
beth, 91. 

Stage,  religion  cannot  be  portrayed  by, 
loj;  Shakipeare  wrote  (or,  6;  all  the 
world  a,  185. 

Start,  men  not  ruled  by,  186. 

Sttfhcn,  93. 

Stones,  known  to  move,  3j6. 

Strong,  Dr.,  quoud,  X,  77, 103. 

Strong  drink,  373. 

Study,  value  of,  I7j. 

Sun,  181. 

Surfeiting  worse  than  starving,  378. 

Temptation,  347. 
Tendency  or  Sin,  237. 
Testimonv  or  the  Dying,  349, 
TRANKrirtKEss,  303. 
Time,  174. 

TkEASON,    BETtAYAL,    TlZACBEIY,    349. 

TauTH,  353. 

TVBANNY,    I9B. 

Taine.  78. 

Taming  of  the  Shrew,  and  marriage, 

84. 
Teaching  easier  than  practice,  134. 
Te  Deum  sung  by  choir,  317. 
Temperance,  377. 
Tempest,  the,  54,  56. 
Tempted  by  the  devil,  34S. 
Tennyson,  53. 
Thackeray,  9. 

Thief,  fear  of  an  officer,  135. 
Tide  in  affairs  of  men,  308. 
Time,  the  Sonnets  on,  178. 
Tinker,  a  drunken,  373. 
Toothache,  aoi. 
Timon  of  Athens,  94. 
Tongue,  envious,  301 ;  slanderous,  341 ; 


Translation  of  Bible,  IX.  af. 
Tragedies,  a  new  lesson,  ^ 
Trench,  archbishop,  ^ 
Troiltts  and  Crcuida,  94. 

Universality  of  Shakspeare,  51,  104;  of 

religion  in  man,  104. 
Unkindneu  the  only  deformity,  ig& 
Unfruitful  prayer,  307. 
Unity  of  purpose  in  plays,  Six 

ViaTuE,  CRAsnTY,  333. 
Vows,  314. 

Vine,  303. 

Virgil,  103, 

Virgin,  189. 

Voyage  of  life,  tide  in,  306. 

Wai.  3s6. 

Wealth,    Iu-cotrn.    Hoaimq,   j6a 

Woman,  361. 

WOBLD,  363. 

Worldly  Honors  and  Glory,  364. 

Worship,  317. 

War,  evils  of,  358.  259. 

Ward,  Artemus,  7. 

Way,  truth,  life,  14. 

Wesley,  13. 

Wheat,  200. 

White,  Richard  Grant,  64. 

Williams,  13. 

Will;  Shakspeare's,  XII,  113. 

Wine,  a  devil,  373. 

Wise  men  and  Herod,  59. 

Wolsey,  «6. 

Women  of  Shakspeare,  68, 69,  361. 

Wolf  in  lamb's  skin,  143. 

Words  make  not  prayer,  304. 

Yesterday,  call  it  back,  174. 


